These sheets were painted in the tradition of tattooer’s of the past; using a technique called “spit-shading" which refers to the use of 2 brushes, one brush loaded with watercolor or ink and the second brush would usually be BRISTLES IN THE mouth or dipped in water to create smooth transitions from pigment to negative space. Watercolor is a pretty unforgiving medium normally, BUT TO CREATE THE RIGHT LOOK IT means you have to move quickly in order to stay ahead of the ink drying. This makes painting flash difficult, like most things tattoo related, NOTHING IS EASY. each PAINTING measureS the industry standard of 11x14 inches on 100% COTTON, arches Watercolour cold pressED 140 LB PAPER. MY UNCLE IS AN ACCOMPLISHED ARTIST WHO WAS KIND ENOUGHT TO TEACH ME A FEW CONVENTIONAL WATERCOLOR TECHNIQUES WHEN I WAS YOUNGER BUT FLASH PAINTING AND WATERCOLOR PAINTING ARE DIFFERENT BEASTS. MY TECHNIQUES ARE MOSTLY SELF TAUGHT OR LEARNED VIA OSMOSIS; WATCHING VIGILANTLY WHILE MY TATTOO ELDERS WOULD SMASH THROUGH SHEETS LIKE THEY WERE NOTHING BUT A CHILDS COLORING BOOK. FOR ME, EACH PAINTING USUALLY COSTS MANY SHEETS OF ARCHES AND OFTEN, MONTHS OF DEDICATION BECAUSE IM AN OBSESSIVE PERFECTIONIST WHEN IT COMES TO FLASH. MORE THAN ONCE I HAVE BEEN HAUNTED BY THE LINE WORK ON A SINGLE SHEET FOR MONTHS BEFORE I COULD EVEN BREAK OUT THE BRUSH AND INKS, UNABLE TO MOVE ON TO ANYTHING ELSE UNTIL IT WAS RIGHT. ONLY TO BE PLAGUED FURTHER OVER TINY MISTAKES NO EYES WOULD CATCH BUT MY OWN AND SENT BACK TO THE START LIKE SISYPHUS. POINT BEING, MY SHEETS ARE OFTEN PAINTED SLOWLY AND WITH PAINSTAKING ATTENTION TO DETAIL OVER LONG PERIODS OF TIME UNTIL I BELIEVE I HAVE GROWN AND READY FOR MY NEXT PROJECT.

originals and gilclee prints available in the gift shop.