- 7 months ago
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00:30Alright, we'll be back.
01:00We spoke... Oh, that one's looking... Was the yellow new? The yellow looks new.
01:05And it's good. Okay, let me see.
01:08Okay, the addition of these leaves has really helped.
01:10Oh, and you didn't have to rub out your note.
01:12Oh, you could have added a new one. That would have been nice.
01:15Oh, and we've moved. This is another part of my studio as well. I should have mentioned that.
01:18You're not seeing things. We did actually kind of move across the room.
01:21The actual leaves that you've added in here, the green is going to add a nice contrast to the red.
01:25So it's going to make it really pop.
01:26And then using that negative space just around the outside is a really nice touch as well.
01:30This one's looking really good.
01:33And so...
01:34For some reason, I feel like your centre bug has changed.
01:37Maybe it hasn't. Maybe it's just the addition of the colour is making my eyes kind of more aware of that negative space.
01:42But these are actually coming together really nicely.
01:45You've done really well.
01:46You just need to practice kind of using that ink and the water to kind of really get that smooth transition.
01:51It does come with practice. You do have to take your time with that one.
01:53But if you do manage to get yourself an iPad, it's going to make it easier for you to kind of like readdress stuff, go back over things.
02:01And again, still going to take practice to get to grips with this.
02:04But it's much easier, I find, to not get frustrated with things because you can just kind of change your layers and do that.
02:11It's a great thing.
02:13So let me jump into this one.
02:15Nice skin breaks.
02:16I mean, negative space.
02:18I have to stop doing that.
02:20Art brain, not tattoo technique.
02:22The negative space you've added now is really good.
02:26And I'm loving the secret, getting out of Alcatraz notes as well.
02:31Yeah, these are spot on.
02:32Absolutely perfect.
02:34What you've done, so when I talk to my...
02:36I'll start again.
02:37When I speak to my apprentices in my other kind of life,
02:41in my brain I have two ways of describing the negative space.
02:45We have like the construction skin breaks or negative space, which are like these ones,
02:49which you run in quite a hard kind of manner.
02:52So it's more of an erased kind of line.
02:54And that's usually to put kind of lines back in or to kind of add the form and the structure back into the tattoo design.
03:00That's what I call them.
03:01That's not to say everybody calls it that.
03:03But my wonderful dyslexic brain, that's where I go to.
03:06And then the other kind are these like transitioned highlight, kind of more artistic negative space and skin breaks.
03:14Though again, same purpose.
03:15They're still there to put the image back together and to kind of add that contrast.
03:19But you're just doing it with that soft transition from the saturated color through to the negative space.
03:24But this one's looking really good.
03:26And that's quite a nice little touch, adding in that yellow into that rose.
03:32And I like the fact you've got the separation between the two.
03:35Good job.
03:37I love it.
03:38And that flag, yeah.
03:39Really kind of good that you've given the viewer enough information to read it as the American flag,
03:43but you don't have to give them all that information.
03:46You don't have to give them every single star, you know.
03:48But you've done enough to kind of give that indication that that's what it is.
03:51So that's how it reads.
03:52If I could give you stickers on like a little star chart, I definitely would.
03:59All right.
04:00Let's see how this one's coming on.
04:02Oh, the yellow is nice.
04:04And yeah, good transitions again.
04:07Really smooth.
04:07That little spot just there in the middle.
04:09Beautiful.
04:10Absolutely beautiful.
04:12Nice.
04:13This one's going to be really cool.
04:15You're going to have to be careful with how you balance your sheet.
04:19So you don't want to have kind of all the color on one side and then nothing on the other.
04:22You want to kind of create that balance as you kind of move around and across your sheet.
04:26But it's looking really good.
04:27And your crow came out nice as well.
04:30Yeah, these are good.
04:32Nice, nice.
04:33And maybe if you add the color to your border, maybe drop it back slightly.
04:37Maybe don't have it as saturated or drop the opacity down.
04:41Just to kind of push that into the background.
04:43So the focus is on your images on the inside.
04:45But yeah, this is looking good.
04:46Just be careful of keeping it nice and tidy around those shaded areas.
04:52Again, Cody, if there's any questions as I go, I'm leaving dramatic pauses for you to shout at me.
05:00This one's nice.
05:02I don't think I've seen this one yet.
05:04So thank you for sharing it.
05:05I appreciate that.
05:07This is a really nice composition.
05:08No, I have seen this.
05:09I think.
05:13I think it was one of the sketchbook ones, I think.
05:17Really nice composition.
05:18I like what you've done with the rose.
05:19And I like the beginning of your shading where you've got these dark kind of values all the way through to the light.
05:24You've also got some really nice kind of negative space areas going on.
05:27Just from a tattoo design point of view, try and keep them as super smooth as you can.
05:32As far as like a tattoo inspired piece goes, this is great.
05:36Like I love it.
05:37That if you were really pushing for that kind of flashy American traditional, you just need to kind of tighten it all up.
05:42Get those nice like solid line work in.
05:45Get the shading as smooth as you can go.
05:47And then that colour saturation.
05:49Really, really saturated all the way through to that negative space.
05:52But as a, I like this as far as like a inspired by American traditional tattoo.
05:58Like I would put this on my wall for sure.
06:01I like it.
06:02I mean, if you manage to add some colour to this in the time that we have left, I would love to see it uploaded just so I can be nosy.
06:12When everything shut down through COVID, my way of looking at art, because I love looking at art the whole time, like I surround myself with it,
06:17was just to use other people's Instagram to kind of give myself little gallery tours of other people's work.
06:22So I'm very nosy when it comes to artwork.
06:24This one's looking good.
06:26Do you see where I said to add that little bit of black shading up into the heart, how it creates that nice contrast?
06:30So you have that value change from the very dark all the way through to the negative space.
06:35Really good job.
06:37Yeah, this is going to be really good.
06:38You could introduce like a little bit of blue into your anchor maybe.
06:42Just to give it that kind of steely quality.
06:46Just try for this one to maintain those negative spaces because you've done a really nice job with them, especially around the top circle.
06:54If you can maintain that, but just add that little bit of blue, I think it's going to really finish that one off.
06:58And the snake's looking neat too.
07:00See the difference these little details make.
07:02It kind of takes it from being a very kind of simple design, which is nice and simplistic, just and then throws the American traditional kind of aspect into your face in a very hard way.
07:13I like it a lot for sure.
07:15And your flowers have come on nicely too.
07:17Just be wary that you don't lose your skin breaks if you were taking this through to like, you know, legit flashy in a tattoo kind of shop.
07:25But yeah, it's looking really good.
07:26The other thing you could do is snake tongues.
07:28You don't necessarily have to close off the snake tongue.
07:30You can have it as two lines kind of going and then just use your collar to kind of cap it off.
07:35So it kind of has that kind of feel that it's slightly fleshy and it just kind of goes away.
07:42Oh, is there a lag where this one's just come up and I've been doing lots of stuff to it?
07:45Possibly.
07:50I think so, yeah.
07:55Yeah, that's the display right now.
07:58But I just looked up and it was, I'm so engrossed in what I'm doing, see?
08:05Let me pull off that one.
08:07Okay, that's it.
08:08Cool, cool.
08:11Okay, let's keep going.
08:13Did I look at that?
08:14I looked at this one.
08:15Oh, nice.
08:23This one's a fabulous design.
08:26Just be careful.
08:27You have to maintain that single line weight as you go through to keep that American traditional feel.
08:32As far as a tattoo design goes, though, this legitimately could be a really strong tattoo design.
08:38It just wouldn't fit into that American traditional style because it's not sharing that single line weight all the way through.
08:46Just to give you like a tiny bit of critique on this one with it not being American traditional, just be wary of your lines getting too close.
08:53These internal details here would be very difficult to translate if you were going into a tattoo kind of situation on someone's skin.
08:59And like these details, these tiny little like semi half moon shapes.
09:06But yeah, it looks like someone's got themselves some tattoo brushes.
09:09Good job.
09:09But yeah, really nice design.
09:12I love the composition.
09:14I love the concept.
09:15But not American traditional.
09:17And I hope you take that with the love that it's intended.
09:23That's cool.
09:24What's this one?
09:24Oh, someone's been busy.
09:28Okay.
09:29These are fabulous.
09:30If you are not already working as a tattoo artist, I strongly suggest you look into it because these are blooming marvellous.
09:37Really good.
09:38Again, though, difficult for me to kind of say that it's an American traditional because it's not sharing that single line weight.
09:44As far as tattoo flash goes, though, beautiful.
09:47Just watch out for those lines getting too close together.
09:50You've got lovely negative space.
09:52See how I didn't say skin breaks?
09:53Running through your whole design and your colour palette is beautiful.
09:57But like I said, to really hit that American traditional kind of mark, it needs to have that single line weight throughout the entire sheet.
10:04And your colours.
10:05These blues are beautiful.
10:07But for American traditional, it would be kind of rare.
10:10If we're thinking back to the origins of American traditional, obviously kind of contemporary artists now working with that style can kind of change things up slightly
10:17and kind of bend the rules where they want to.
10:19But our reference point is like the 1940s original Sailor Jerry kind of colour palette.
10:25This kind of beautiful kind of bright blue would be a difficult thing to achieve at that time.
10:33This kind of blue, absolutely fine.
10:35But this one is just that little bit kind of out there for the old school American traditional kind of style.
10:41But these are truly beautiful.
10:43I am sneakily going to share with you guys at the end the details of my apprenticeship school that I work with, just in case.
10:51Because, you know, like, please come join me.
10:56But yeah, that was beautiful.
10:58Really nice line work.
10:59Let me see this one.
11:00Oh, have you done this on paper?
11:02Again, expecting an answer.
11:06I need to get over that.
11:08Please tell me that you did answer.
11:09If you did answer out loud, just let Cody know so he can tell me so that I know that I'm not hearing.
11:14This.
11:17They'll be like, no, no, we're not talking to ourselves whilst we're listening to you.
11:20You should be.
11:20It'll be, you know, it's good for you.
11:22Get those words out.
11:24This is beautiful.
11:25Again, linking it back to, I'm really having to kind of remind myself that we're doing tattoo design.
11:31This skull is stunning, but would not translate well into an actual on-skin tattoo because you don't have that contrast.
11:39You're not, at this point, you don't have that real strong negative space, skin break kind of area.
11:45For this one, it would go all into these highlights.
11:49They're there.
11:50I can see where they would go.
11:51You would just need to kind of like bring them up quite a bit for it to be able to translate onto someone's skin and then be a good long-lasting tattoo for a good few years.
12:00But from a design concept point of view, it's beautiful.
12:03Again, with the different line weights, it doesn't quite fit into the American traditional style kind of box.
12:08But as far as composition and a workable tattoo design, yeah, you definitely nailed it.
12:15Just not American traditional.
12:18That's a really hard thing to critique.
12:21It's like, we're looking at American traditional and I'm getting all these amazing designs.
12:24I'm like, oh, these are great, but line weights.
12:26You should hear me when I talk to my apprentices in the other thing.
12:31We look at different tattoo styles and I get very, very picky about their line weights and everything being spot on.
12:37Have I looked at everything in here yet?
12:39Did I look at this one?
12:41This one's coming on nice.
12:42Yeah, this one's coming on nicely.
12:47Just keep working with the idea that it's a two-dimensional thing and you don't want to be creating any kind of three-dimensional forms.
12:54You're getting there.
12:55Like, you really are.
12:56These are coming on so, so well.
12:58Keep it super smooth.
12:59Keep these negative space areas going.
13:02And, like, little areas like this where you have, like, the little tiny gaps.
13:05Now, I know we've done this, like, super fast.
13:07Trust me, when I work with my apprentices, they have a couple of weeks to kind of do this stuff.
13:12So just be aware, like, little gaps like that you would have to go back into and kind of fill and really kind of tighten it up.
13:17But for the time that we've had these past two days, you've done an incredible job.
13:22Really nice.
13:23And I like your colour palette.
13:25You've kind of, like, brought the brightness up, but I like it.
13:27It works.
13:29Yeah.
13:30This has got a lot of potential.
13:32Potential, even.
13:33Not potential.
13:35Okay.
13:36I think...
13:36Should I jump back out in case there's any more?
13:38Okay.
13:47Oh, this one?
13:54Oh.
13:55Nice.
13:57I like that you've included your reference up there as well.
14:00And given me a secret signal Alcatraz little note.
14:03Liking those.
14:04This is really nice.
14:06What I would suggest for you is that if you...
14:09Is this paper...
14:10Procreate.
14:11Cool, cool.
14:11Make sure that your line weight is a single line weight the whole way through for the first thing.
14:15Be wary of these little gaps forming.
14:18And I wonder if your pixels need to be increased on your screen.
14:23It looks a little bit pixelated for me, unless it's the brush you're using.
14:27If you're using the Studio Pen and it's still coming through like this, jump into the canvas settings.
14:33Let me show you quickly.
14:35So if you go up here and then crop and resize and settings, you'll be able to see how many pixels and dots per inch you have.
14:42I tend to work around 500 dots per inch when I'm doing flash design.
14:46I don't ever intend to blow these up massive.
14:48If I ever print them off, they're going to be, you know, like portfolio size.
14:52They're not going to be huge.
14:53So I don't need too much.
14:54But just check your dots per inch and then just double check that you're using the Studio Pen rather than anything with any kind of texture.
15:02For the American traditional, we want super smooth, consistent line work.
15:06We don't want it to have any of the little textures or details around the edge.
15:12But I really like the style of drawing you've got going on here.
15:15I would also, you see this shading that they have on this reference?
15:19This is really kind of like the way that eagles are shaded when it comes to American traditional tattoos.
15:25And they are super stylized and they have their kind of way of doing stuff.
15:30You can make changes within this style, but at the core of it, it has to kind of like have that connection, have that kind of strong reference to the American traditional way of doing stuff.
15:39And then again, like in here, extend this light area all the way along the back of the eagle.
15:46So just take it all the way in there.
15:47Even if it doesn't make sense in your kind of art brain, you need to kind of start developing your tattoo brain where things are slightly different because we need to maintain that image quality and think that eventually, you know, these would be going on to an organic thing.
16:00It's going to change and age and get thinner, fatter, wrinklier.
16:06So it's going to always change.
16:08So we need to produce images and create designs that are going to stand the test of time and allow for that kind of change within the body and the skin as people age.
16:16I just had this worked on and it's just got really itchy.
16:18I need to go and get lotion.
16:21That's why I keep doing this.
16:22I'm not nervous.
16:24But this is a really beautiful design.
16:25You picked a really nice reference to work from, for sure.
16:28It's a really good one.
16:29And again, you could definitely even, you know, take this even further.
16:34Okay.
16:35Let me see.
16:36Did this one pop up?
16:37Was this one being worked on?
16:39Oh, I can see you're pushing those colors a bit more.
16:41Nice.
16:46Mm-hmm.
16:50Yeah.
16:51Yeah.
16:52No, that's absolutely fine.
16:53This one still works.
16:53Because your tentacles are kind of small, you can kind of get away with not having a skin.
16:59Break within the design because you've kept the actual width of each tentacle skinny.
17:03So you have, like, your negative space on either side.
17:06So the ink would have space to kind of move around as it aged.
17:09I really like this one.
17:11Like, I knew it had the potential when I first saw it, is that red pencil sketch.
17:14And now I'm kind of seeing it kind of almost completed.
17:17Like, I love it.
17:18Like, I really do.
17:20I think if you add that little bit of yellow into your banner, that's just going to finish the whole thing off.
17:25I think it's awesome.
17:26You did a really good job.
17:29You really did.
17:30I think I have a question here.
17:31Okay.
17:40Okay.
17:40So the question was, how big would the single, would each design be?
17:45It really depends on where you're kind of taking your design.
17:50So if you have, like, a collection, like I have on here, I would envision these tattoos, if I were to be taking these onto skin, would probably be about the size of my palm.
17:59The one in the centre, obviously, would be a bit bigger.
18:01But that's how big I would see them.
18:02So on the page I have, I give them enough room to kind of fit.
18:06Because their details are kind of in the middle, you know.
18:08There's some detail, but it's not over the top.
18:10But if I was working on something more elaborate, let me see if I can find one quickly.
18:16Please excuse the many pieces of unfinished flash design.
18:21Okay.
18:21This one, for example, is something that I've been working on for a little while.
18:24Because there's more detail on this, if I were to move this into a finished flash sheet, it would probably take up the entire sheet.
18:30Because there's so much detail and so many things happening inside it, I want to give it enough room.
18:35And like we talked about, we can't have lines getting too close together.
18:37So even on your flash sheets, you don't want those lines getting close because you still want to show how it's going to translate.
18:44Clients expect when they come in that the work they see on your piece of paper or on your Procreate, on your tablet, is going to be what happens on their skin.
18:53They don't really want you to kind of go, oh, this is kind of like my rough idea, so we'll see where we go.
18:57Unless they really trust you, like my guy.
19:00I'm like, do what you want, mate, if you're on.
19:01But when you're creating flash, you need to consider each piece and how much detail, what kind of style you're working with, and where you kind of see it going.
19:10Something like this, for example.
19:13This I might have on a single flash sheet, but then I might also include a couple of fillers, smaller pieces, or even kind of like a corner decoration or something, just to finish this off as a flash sheet.
19:23So it really does depend on the amount of information you're going to have within your piece.
19:29I thought I had someone here.
19:32I wonder if I can find my first apprentice tattoos.
19:35Oh, here they are.
19:37Super, super simple.
19:39So I just chucked a whole bunch on there.
19:41These ones I was giving out for free when I was doing my apprenticeship.
19:46Really simple, so I just threw a whole bunch on there, you know.
19:49Obviously, if these were more complex, then I would have less on the sheet, and they would be bigger, to really kind of show off that detail.
19:57Whoops.
19:57Wrong thing.
19:58There we go.
19:59I hope that answers your question.
20:02I hope so.
20:05Okay, what time is it?
20:06Let me see.
20:07Okay, it's 1.30 now.
20:091.26.
20:10Did anything else appear in the drive at this point?
20:14Yeah?
20:15Ooh!
20:16Ooh!
20:17Ooh!
20:19Ooh, I like it.
20:21I like it.
20:22Just keep that transition as smooth as you can get it.
20:26And be cautious.
20:27Like, where you have all these lines, if you go too far with the colour, you're going to lose, and that's going to blur, and kind of over time, if it were on skin, it's going to degrade very quickly.
20:36But, again, it's kind of fun today for me, because I'm kind of switching from my art brain to my tattoo brain.
20:43It's fun.
20:45Artistically, I think this looks great.
20:46Like, if you weren't trapped to that one single red, you could almost, like, incorporate some more kind of tones going through.
20:52So, if you perhaps were to take this into a different style, such as even if you took it to the neo-traditional style, you could incorporate more values of that red to really kind of increase that stringy, stretchy, muscle kind of feel to it.
21:05So, it's a lot of fun doing that kind of tattoo on someone as well, where you're kind of really playing with the colours and laying them on.
21:12I love my job.
21:13It's a fabulous thing.
21:17How about this, Cody?
21:17How about I tell them about the tattoo shop names that I thought of, so that if there's any other submissions to come in.
21:23Yeah?
21:24Jump backwards and forwards.
21:25Okay.
21:26So, I remembered the name of the tattoo shop that I, my guy worked in.
21:31I've been to him a couple of times.
21:32He's done some of my tiniest tattoos, in fact.
21:34He did my tiny little palm tree.
21:36He's done my bee and a couple of other ones that are not accessible at this point.
21:40Let's put it that way.
21:41He has a shop in Lake, sorry, Laguna Beach called Bare Bones.
21:46He's down there.
21:47He's got some really good artists that he's working with now.
21:49He actually set it up himself.
21:51He's an incredible guy.
21:52Lovely family.
21:53Anyway, the other, my other guy that's working on this, who I highly recommend, love him to bits, especially when he digs really deep into my arm.
22:02I'm like, I thought we were friends.
22:03He's like, we are.
22:04I'm like, okay.
22:05His name is Chris Borchez.
22:07He works over at Lake, Lake Forest at the shop called True at Heart.
22:10I've been texting them like frantically going, what are the names of your shops?
22:14The other big like recommendation I can tell you is that if you, if you do want to take this whole thing further and not just from the art point of view,
22:22if you do want to come and try out as an apprentice and explore that avenue and get some experience of working on skin, please do not do it by yourself.
22:30You can really hurt yourself, hurt other people.
22:32I do not recommend that at all.
22:33However, the apprenticeship that I work with, I teach the phase one.
22:37So I teach the tattoo design from a very technical point of view.
22:40So actually really looking at how to put together stencils for tattoo work.
22:44It's called Body Art and Soul.
22:46Their website is bodyartsoul.com.
22:49And they have shops in Brooklyn, LA, New Haven.
22:52I've written them down.
22:52Philadelphia and Tampa.
22:55Please tell me that's a place.
22:58That's a place.
22:59Thank goodness.
23:01I'm not from around these parts.
23:03What can I tell you?
23:05They are great.
23:05I cannot sing their praises enough.
23:07They're fabulous people.
23:08If you do want to go down that route, just tell them that I sent you and say hi from me and they'll take care of you.
23:14I promise.
23:17Body Art Soul.
23:18So it's Body Art and Soul, but the website is bodyartsoul.com, I believe.
23:22I think that's right.
23:24Yeah, great people.
23:26They basically, it's an apprenticeship that talks you through kind of tattoo design, setting up your machines, working on pads, and then eventually working on skin.
23:34And I believe that at the end of it, there's like a whole internship situation that they now do.
23:39But they're fabulous.
23:40I love it because I get to teach technical with them.
23:43And then I'm teaching now this art side of it with you guys.
23:45So I'm loving this.
23:47It's fabulous.
23:49Any questions?
23:50There was a question earlier.
23:53Do you want to go back to the skin?
23:55Mm-hmm.
23:58We'll see.
23:59Do you want to go back to the back?
24:01Um, but they, um, uh, do you put the color in the skin if it's not able to go back to the skin or do you put the color in the skin or do you put the color in the skin?
24:12Yeah.
24:13Yeah.
24:14Um, so the question was, can you put color over black in the skin and if it has any effect?
24:21Um, I am going to be very careful here because I don't want to cross the boundaries of going into the technical side of it when I'm here to do the art design side of it.
24:31Um, it, you, you don't basically is the short answer.
24:34You, you try and avoid that at all costs.
24:37Um, think of it this way.
24:40So if you have a wet piece of watercolor paper and you have your black ink and then you go in with a color, you lose control over how, um, the, the, you lose control over that red.
24:50So that red's going to meet the black and it's going to end up kind of murky, muddy, kind of, you don't know what's going to happen basically with all that water on the paper.
24:57It can go anywhere.
24:59Think of it that way.
24:59The skin is underneath that surface.
25:02It's a wet organic thing.
25:03So as soon as you put that ink into it, as soon as you puncture the skin, stuff starts happening that you lose control over.
25:09So you do have to kind of be very careful about how you place the colors down.
25:13Um, so if you are planning on going down that route and you, you're going to be getting in touch with body on itself.
25:20Um, you are going to develop two brains.
25:23You're going to have your art brain where you can layer colors.
25:26You can, you know, keep them, piling them up, playing with them, mixing them, all that stuff.
25:30And then your technical tattoo brain where you're going to be planning this thing out methodically.
25:35And a lot of all the planning, in fact, happens at this stage when you're working on Procreate or you're working on paper with ink and watercolors or the Procreate Apple Pencil, all that good stuff.
25:44I hope that answers your question without me going too deep into the technical, which I'm not allowed to do.
25:50Um, that was a tough one.
25:59Are there any others coming through?
26:03Cool.
26:04Did we have any other submissions?
26:05Cool.
26:11I really, really, really hope that you guys get the time to finish these sheets off.
26:15You're doing a really, really good job and I would love to, to somehow see them.
26:19I don't know if that's, is that possible, Cody?
26:21Can I jump back in and see?
26:22Just, I mean, not even to give feedback, just to be nosy.
26:25I just want to have a look.
26:32I'm excited.
26:33I'm actually also eyeing up some of these designs to possibly put on my skin.
26:36Cool.
26:40Unless anyone has any real last minute questions or anything I can help you guys with, I kind
26:45of feel like we're, we've reached the end of, unless you guys want to keep going for another
26:5120 minutes and then we can jump back in if, just to do a quick last critique, maybe.
26:57Do you want to do that?
26:57I'll drink some cold coffee.
27:10Oh, that'd be amazing.
27:22I love that we're putting to a vote.
27:23I love this.
27:24It's, I feel like we've created our own little fundamental of tattoo design family.
27:48Yeah.
27:48No, just go check out body art and sew.
27:53It's amazing.
27:55I fully support anyone getting any kind of tattoo art put onto their body.
27:59I think it's a fabulous, wonderful way to express yourself.
28:03Keep drawing as well and keep practicing.
28:05The more you pull these lines, I mean, I spent a lot of time early in my apprenticeship, just
28:09drawing straight lines and training myself to draw good circles and just, you know, repetition
28:15and practice.
28:15You just got to keep doing it.
28:18And yeah, the muscles in my hands definitely changed when I first started doing my apprenticeship.
28:23I went from like little spindly delicate hands to these massive chunky muscles that appeared.
28:28What can I say?
28:29I've got strong hands.
28:31It has been an absolute pleasure.
28:32It's been fun.
28:35I hope we can come back and do this again.
28:39And Loki's fast asleep next to me now.
28:40He's so happy.
28:43Bless him.
28:44Can I spin him around quickly?
28:47I don't even mind.
28:48Look at him.
28:48He's such a good little tattoo friend.
28:51Aren't you?
28:52Okay, guys, unless there's any other questions, I'm going to go tattoo someone.
28:59I don't know.
28:59I don't know.
29:00I don't know.
29:00I don't know.
29:00I don't know.
29:00I don't know.
29:00I don't know.
29:01I don't know.
29:01I don't know.
29:01I don't know.
29:02I don't know.
29:02I don't know.
29:03I don't know.
29:03I don't know.
29:04I don't know.
29:04I don't know.
29:05I don't know.
29:05I don't know.
29:06I don't know.
29:06I don't know.
29:07You
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