The Stripped Issue_1

UP TO NO GOOD
Strippe
Issu

Content
Tattd 1
Walk the Line 13
Joshua Giovanni 21
Christine Fury 29
Dark Skin Tatoo Tips 41

Words from a Corner Cutter
Once, when I was a toddler, I tripped and kissed the
pavement front-teeth first. I was rounding the corner
out of my house with a freshly-filled Super Soaker in
hand when my foot caught the threshold of the door.
My mother, bless her brown heart, swears it was a
freak accident. I'm inclined, however, to trace my bad
habits back to their beginnings. Even now, I snag my
t-shirts on table ends and half-ass my job
applications. I’d be willing to bet that my mouth met
cement that day because I was cutting corners.
In this issue, you’ll see some familiar interviews.
These are pieces I previously and prematurely posted
to UTNG. I went back to the drawing board because I
recognized my old habit rearing it’s toothless head. I
decided to strip everything down and start again, this
time adding quality and content as I went along; this
time minding my corners. My intention now is to give
this project the long, wide strides it deserves. That
said, thank you to everyone for bearing with me
through the bullshit. This is The Stripped Issue,
“where it’s all out there” in more ways than one.

Picture this: The year is
2021. The residual
weirdness from this
piece-of-shit pandemic
is dissipating like that
sad raccoon’s cotton
candy in the creek. Life
is almost as it was. You
emerge from the
darkness and, as you
glance down at your
withered limbs, you
remember the tattoos
underneath the layers of
ash. You reach for the
lotion and rub it into
your dehydrated skin.
The pictures, once
ruins, begin to
parched
and shimmer: a
plump
head, a rose, a
girl’s
butter y. An
blown-out
sleeve
entire
You squint
materializes.
at the sun and swig
up
last of your breakfast
the
“Finally,” you
beer.
“I’m ready for a
think,
tattoo.” That’s
new
Ta
1
where Tattd comes in.

ttd

Anyone who thinks that avoiding
tattooing dark skin isn't racism is an
absolute lunatic.

So, from what I understand, the app will serve as a client-to-artist liaison. What
exactly does that mean? What is Tattd?
For the rst time ever we’ve created a platform for tattooing with an intelligent
search function that will lter your perfect artist or studio by location, price,
tattoo style and even keyword. You can easily scan portfolios, add them to your
Favs for later and directly contact artists in the app. It's great for people who are
tired of searching far and wide for an artist, and great for local artists to get new
clientele.
How did the idea for Tattd come about? Was the design yours alone?
I’m the sole founder, but Tattd wouldn’t be possible without my incredible team.
Working in tech — speci cally dreaming up what can be created with technology
in order to make people’s lives easier — I thought to myself, "There must be a
better way." You might have heard the saying "Necessity is the mother of
invention" and that’s de nitely the case here. I was so tired of looking through
Instagram hashtags, Yelp reviews and Facebook forums. Finally, a year ago, I
decided to [create the app]; it was the best decision I’ve ever made.
You hold down a traditional 9-5 in addition to developing Tattd?
I do. I’m bootstrapping Tattd, which means I need a separate source of income.
I’m vice president of strategy at an app-development rm in New York City
called Majestyk. I consult with entrepreneurs on the possibilities of tech and how
to execute their creative vision. Now, I get to apply those skills to my own
venture.
So, how would the app function for artists? Do they just download Tattd then
upload their portfolio, availability, rates, etc.?
We did a ton of research and created a database of about 7,000 artists that I’ll be
directly contacting to invite onto the app. If by some horrible mistake we missed
anybody, they can register as an artist on the app and be approved within 24
hours. But yes, artists will be able to indicate their hourly rate, bio,
specializations and choose which photos to highlight in their portfolio.

T tt
And clients will be able to upload references and
So, like Kayak, Tattd will
probably be useful for tourists
preferred-placement photos so that the artist
can comprehensively consider or reject the
looking to get tattooed while
traveling somewhere new. It will
piece?
also undoubtedly prove useful for
Yes! So, as a client, you can save images of your
rst-timers or those who haven’t
pinned down their go-to artist
Favs and upload your own inspo images to create
a mood board for your next tattoo. Then, you can
yet. How do you think Tattd will
directly message the mood board to artists. In
serve those who are already
heavily…tatted?
the chat you’ll be able to discuss all the details
and get a quote. You'll eventually be able to
request and submit deposits too!
I'm actually one of those people —
someone who's heavily tattooed
How do you decide who quali es as an artist?
but would de nitely use Tattd. If
you have a lot of tattoos, more
Say, for instance, Kitchen-wizard Kevin wants
to register as an artist on Tattd to make some
often than not they require
di erent expertise. Let's say I
extra cash. Would he be approved?
want a portrait done, but most of
my tattoos are script. I likely
Our platform is for experienced,
well-established artists only. To start, each
wouldn't go to the same person.
Every artist I've talked to supports
application will be thoroughly reviewed by me,
personally. We’ll eventually have a team on it for
that; they don't want to do a piece
they're not comfortable with or
quality assurance, but right now I want to
personally vet each person.
even tattoo in a style they don't
like. It’s still a win-win, even if
you're deep in the culture.
The database spans America? Does it also
include international artists?
Will the app also act as a liaison
for microblading services,
We’re just in the U.S. for now. We’re launching in
12 of the most tattooed cities, but we’re going to
cosmetic tattooing, tattoo
removal, piercing, body
be expanding before 2020 ends. The launch cities
are: Austin, Houston, Portland, San Francisco,
modi cation, etc.?
LA, San Diego, Chicago, Las Vegas, Denver,
LS: No, and honestly I don't see it
Miami, Honolulu and NYC. Don’t hate me if
you’re not on the list, it was decided by the
going there in the future either. I
see those as a service. The
population-density of tattooed people.
selection process doesn't require
as much care as tattooing.

not to be a downer, but historically the
So,
industry hasn’t been the most welcoming
tattoo
it comes to change. It’s a vintage craft and,
when
though some of the practices are
even
(clunky websites, manual appointing
antiquated
etc.), they seem to be working for
scheduling,
artists. Are you at all concerned about the
most
reluctance to change/adapt?
industry’s
Oh, yes, absolutely. I wish I were kidding, but it
keeps me up at night. That’s the thing about
believing in change and, maybe more than that,
yourself. An industry can’t survive if it stays the
same decades at a time, and this outdated
process within the tattooing industry is in grave
need of a face lift.
The relationship you create with
someone who's creating permanent
art on your body is so special. The
idea that any part of that connectivity
is compromised because people don't
feel comfortable or understood is, to
me, unacceptable.

FUCKING NOT. These are not canvases we’re talking about, these are
ABSOLUTELY
If you're an artist who only tattoos lighter skin tones, stay the fuck away from
people.
app. Not only will I not provide that option in the app, but I will never allow any
my
of discriminatory behavior like that on Tattd, ever. More than that, I will be a
type
voice ghting against that kind of behavior. Anyone who thinks avoiding
proactive
dark skin isn't racism is an absolute lunatic.
tattooing
don't have that functionality in the app yet, but yes, eventually you will be able to
We
for female artists, artists of color, and artists who are part of the LGBTQ+
search
The relationship you create with someone who's creating permanent art
community.
your body is so special. The idea that any part of that connectivity is compromised
on
This is a hard question, but in the words of Hov, ‘Brooklyn ‘til I die!’ So, I'd have to
Wow.
with Biggie.
go
Tattoo artist Steve Te t of Ink Master once publicly stated that dark skin was not the
canvas for him. Will artists using Tattd have the option to set skin tone and texture
preferences?
On that note, black and female artists tend to be underrepresented in the industry.
Will customers be able to speci cally request, for instance, a Black female artist?
because people don't feel comfortable or understood is, to me, unacceptable.
And, last but de nitely not least, Biggie or Tupac?
(Wrong answer, Laura)

Wal th
Li
I recently had an idea
for an article. I was
scrolling through
random tattoo
Instagrams when I
stumbled upon a fairly
well-done Hitler
portrait (it was posted
on an artist’s
Instagram who
specializes in covering
racist/hateful tattoos).
Of the person who
received the tattoo, I
immediately thought
the obvious thought:
What a piece of shit.
My next thought,
though, was maybe
even more weighty:
Who the fuck would
13
tattoo that?

Tattoos are, after all, a privilege and not a right. An artist
can refuse any concept they disagree with and, on the
contrary, can agree to anything they see t. I contemplated
the responsibility of the artist in such a scenario; I
wondered if their compliance indicated the silent support
of whatever image they were inking; I asked myself, if they
tattooed it, do they believe in it? To me, the answer was
yes, they must.
I thought that was going to be my article. I was going to
interview a handful of artists I know and ask them “Are you
willing to tattoo whatever your client wants, even Hitler’s
face?” And all of the artists were going to say “Fuck no,”
and I was going to showcase how respectable tattoo artists
don’t participate in shit they don’t believe in or support. My
question, however, was met with mixed responses. Initially,
I was both dumbfounded and disappointed. I was caught
somewhere between what the fuck? and what now?
As I read through each artist’s reasoning, though, I felt the
article refashioning itself. I realized it wasn't about exing
the awless and uniform moral compasses of a few artists I
know. Rather, it’s about registering di ering perspectives
and navigating the rocky terrain of representation. I want
this survey to do nothing more than authentically explore a
longstanding curiosity of mine (and maybe yours, too): Are
artists—ones of all kinds—represented by the content of
their work? In what circumstance do one's own morals and
values go out the window?
Initially, I was ready to whip something together that
tapped into only one perspective. That would’ve been a
mistake. Instead, turn the page for ten.

10 Anonymous Tattoo
Artists Answer the Burning
Question...
1.
Are you willing to tattoo
whatever your client wants,
even a portrait of Hitler?
“I will tattoo just
about anything
that isn’t hateful
or racist. I know
there are other
artists who can
do such tattoos
with zero
feelings about it,
but I can’t/won’t
have that on my
conscience. And
believe me, I’ve
turned down a
handful of Hitler
portraits in my
20 years as a
tattoo artist.”
2.
“Tattoo
artists are
definitely
represented
by the
content of
their work,
not just the
quality. But
as far as
what I’m
willing to
tattoo, I’ll do
most stuff; a
tattoo is a
way for the
client to
express
themselves.”
3. "I personally draw the line at
super offensive just because I
know it will affect my money in
the future. I sometimes don’t
care, though. I’m not really
bothered by a lot of shit like
that unless it’s directed at me or
my family. With the power of
the media, a tattoo like that can
break you down to nothing.
Surprisingly, it can also lift you
up. These days in tattooing, the
door really swings both ways.
What used to be frowned upon
has gained more of a following
and is considered more
acceptable. For instance, if I did
a Hitler portrait and got heat
from my following, I’d also be
gaining the support of people
who are down for that type of
shit. These days, any attention
is good attention. Power is in
the numbers.”

4.
“I wouldn’t be
down for
anything
negative or
racist. We all
know who Hitler
is. But if they
wanted to cover
up something
like that, then
yes, I would be
glad to help.”
7.
“I would say my
answer is a hard
‘no.’” (For some
reason, this
artist blocked
me after I asked
her to
elaborate.)
8.
5.
"Not only will I
not tattoo
hateful things, it
even breaks
down
deeper: someth
ing not
contouring or
looking right on
the body, bad
artwork that
makes you look
like an amateur,
or someone too
young coming in
wanting their
hands or neck
tattooed
without having
any other work
done. There’s
way too much
at risk and my
reputation as an
artist means
more to me
than that.”
“I’d probably be down. I do feel we
as artists have a responsibility, but
at the end of the day, I got bills to
pay. If someone wants to pay me
$1,500 to tattoo [something
offensive] on them, I’m probably
going to do it.”
6.
“To me [racist tattoos]
seem like something you
would be forced to get in
prison if you wanted to
stay alive. I don’t see
people walking into a
shop in Long Beach,
California looking to get
a portrait of Hitler. I’m
not saying it can’t
happen, but it seems like
the people who get
those tattoos would
seek out someone who
specializes in that sort of
shit, like an uncle who
was just released from
prison doing jailhouse
tats in grandma’s
garage. I have turned
down gang tattoos in my
earlier days of tattooing
just because I didn’t
want to be the guy
elected to do the whole
gang’s hateful tattoos.
Even the Fuck the Cops
and ACAB tattoos seem
hateful to me. Like,
you’re really going to
feel that way when
you’re a 60-year-old
man? Chances are slim.
But that reaper on your
arm will still be relevant
and look just as cool as it
did when you got it. Is it
wrong that I look at
tattooing as an art form
and not a political form?
I don’t really care. I’m in
it to make cool tattoos
on the people who trust
me to make them.”

&
9.
"I can’t speak for the industry as
a whole, but I personally feel
there are certain symbols or
ideas that I don’t stand by and
will not tattoo. I feel as a
tattooer, I have a responsibility
and understanding to uphold.
Whatever I tattoo on someone
represents me in some way, so
I’m not going to glorify
something that I don’t feel is
right. To answer your question:
No, I would not tattoo Hitler’s
face on someone because I know
exactly what Hitler represents.”
10.
“I’ve got a nuanced opinion on it. I lean
towards doing whatever, but have my
own personal boundaries and stu I’d
probably pass on. I guess it depends
on the client and the reason. Before I
actually tattooed, I thought I wouldn’t
tattoo anything racist, satanic or
hateful, but I didn’t actually know why.
I really just thought it was what you
were supposed to say. Then I was
asked to tattoo a burning church on a
friend who also tattoos. This friend
was into Satan, but had tattooed
religious imagery on me before. I
thought about how bummed I would
have been if he had refused to do my
tattoo because his religious views
were di erent than mine. I realized
how unfair, closed-minded and
pretentious my position was. Who am
I to judge what is acceptable or not to
tattoo on someone? Shane Enholm
explained this in a video one time. He
was talking about this relatively new
idea that you are represented by what
you tattoo on people. He said he did a
gay pride, a brown pride, and a white
pride tattoo all in the same week. He
asked the question then, 'which am I?'
The answer, of course, was none.
Now, with all that said, luckily no one
asks me to tattoo anything like that. I
feel it depends on the person and the
intention behind the tattoo. It’s a case
by case basis with me. I am not called
to judge, simply to love and tattoo. To
the Hitler portrait part, it depends. If it
was on some dumb douche who was
like, 'Yeah, I hate the Jews,' I’d
probably have to pass. But if It was on
someone who was just into the taboo
or history of it, I’d probably be more
open. Like, is it a sleeve of dictator
portraits and evil people? Or is it some
guy who loves Hitler because of what
he did?”

10.
Tattoo by Alex Coulter

21
Progress of an Artist
oshua

A Brief Interview with
iovanni

I’m always curious about the concept of
progress, especially in the tattoo industry.
I’d imagine it’s an odd thing having your
growth recorded on the skin and limbs of
others — these walking, and maybe
mortifying, reminders of how far you’ve
come. My right leg happens to be riddled
with some of Josh’s earlier work: a
traditional girl head, a dagger, some roses.
None of it’s particularly terrible (I've
thankfully seen worse), but when placed
side by side with his most recent pieces, the
progress he’s made is borderline
unbelievable; the tattoos seem as if done by
a different artist altogether. Every time I
glance down at the faded lavender flowers
curving over my shin or the "Sailor Beware"
script that has bled and blurred beyond
recognition, I wonder if Josh wishes I'd stop
wearing shorts out in public.

When and why
did you start
tattooing?
I started
tattooing in
2012, when I
was 22 years
old. I grew up
writing graffiti; I
was always
drawing on
something.
School wasn’t
my thing, and I
just wanted to
make a career
out of
something I
love, so I
sought out an
apprenticeship.
When you first
started, what style
did you lean
toward? Why?
When I first
started
tattooing, the
shop I was
apprenticing at
focused on a lot
of Filipino tribal
— heavy line
work, all black,
no shading. It
was their roots.
I can’t say I
leaned towards
it because it
was just
something I was
being taught. I
wanted to soak
up everything I
could and any
advice that
would help
build me as an
artist.
You do almost
exclusively black &
gray realism now.
What changed?
It’s a huge
change. I just
started
focusing more
on the detailbased
application of a
tattoo and
trying to make
something
come to life
rather than
remain flat.
There’s
something
about
comparing a
tattoo to your
reference and
being satisfied
with the end
result.
Your work has
improved like crazy. To
what do you attribute
your progress?
I’d say everyone I’ve
surrounded myself
with and had the
chance to work
alongside. That’s the
best part about
[tattooing], the
inspiration is
constantly flowing. I
think the shop I work
at now, Skanvas
Tattoo, has had the
biggest influence on
my work, though.
They’re all black and
gray artists, and we
push each other
daily to improve
without even
knowing it. I want to
thank the guys I
work with, for sure.

How do you feel
about your old
work?
When you see your
older work, does it
bother you? Do you
wish you could
improve upon it?
Do you have
any regrets
when it comes
to tattooing?
One area of
tattooing you
want to continue
working on…
[Laughs] The
golden
question. I
mean, it
I do see some
pieces and
think, like,
man, it would
What is
there to
regret? I
love my
I’m always
trying to
make things
smoother as
obviously
have been
job; every
far as
isn’t going to
be mind-
cool if I added
this or made
that part
day I get to
learn
saturation
and healing.
A beautifully
blowing, but
that’s what
shapes
anyone as an
artist.
Practice
bigger and so
on. To me, a
piece is never
fully finished,
though.
There’s always
something
something
new and
meet cool
people. If I
were to
regret
anything, I
healed tattoo
is a job well
done. But I
think there’s
always room
for
improvement
in every
makes
perfect, and I
try not to
you can do to
make it
better.
guess it
would be
not starting
aspect of
tattooing; it
never really
ends.
forget where
earlier!
I came from.

Chris
Fuck
29
Fu

tin
in
r

In 2016, “punk pinup” Christine
Fury started a print-only pinup
magazine à la Playboy—only this
magazine wouldn’t have any
articles or interviews, no
columns or critiques. This
magazine wouldn’t display
anything but beautiful
undressed women posing in
absurdly-themed sets and
exaggerated situations. For our
purposes, imagine Foxxy
Cleopatra, an Austin Powers
fembot, and The Sandlot’s
Wendy Pe ercorn swaggering
onto the set of Kill Bill. The result
would be Camp Out.
The website calls it “vintageinspired
smut,” an intentional
contradiction that seems quite
pleased with itself. Christine
presses pleasure against
conservative glass, posing her
pinups innocently — almost
prudishly — as if their panties
happen to be accidentally
around their ankles. The mag’s
logo features a basic, burlap tent
split down the middle by a pair
of emerging bare breasts, the
motto “Where it’s all out there”
further solidifying the
publication’s prowess.

Since its inception, Camp
Out has featured
handfuls of well-known,
oiled-up asses—including
The Great Bambino
herself, Christy Mack.
But the magnitude of the
magazine is made all the
more impressive by
Fury’s experience — none
at all. She and her tiny
team head-up the
operation, all while
Christine chases both her
tail and a toddler. It goes
without saying — but I’m
going to anyway —
Christine Fury is a busy
woman (I believe
“swamped” was the word
she used). That said, I
tailored this miniinterrogation
to
t her
lifestyle. Flip the page for
15 rapid- re questions
Art by Candy Weil
with Christine Fury.

Where are you from?
Redlands, California. I gr
area, from Big Bear down.
How did you end up in Lon
My sister had a boyfriend
really into Sublime, and h
Long Beach [laughs]. She m
with him right around t
gotten in a brutal car acc
out of the hospital for abou
was patched up enough
front teeth on a ipper, I h
her couch with my two cat
Is Christine Fury your rea
just a big Stephen King f
Christine in Stephen King
was a 1958 Plymouth Fury)
My Dad was a huge Ste
always told me I was name
How did Camp Out Magazin
I was standing in the sho
wanted to start a nudie ma
How did you come up wi
Out?
It’s a play on words. All pin
in the magazine everythin

ew up all over that
g Beach?
at the time that was
wanted to move to
oved to Long Beach
he time that I had
ident. I was in and
t a year, and once I
and had my three
eaded to go live on
s.
l name or are you
an? (The killer car
’s 1983 novel/movie
phen King fan. He
d after the car.
e come about?
wer and decided I
gazine [laughs].
th the name Camp
up is so campy and
g is out there.
Photos by Shannon Brooke

Biggest in uence?
All things vintage pulp culture.
Whats a typical day like as a mom and mag owner?
It’s truly a shit show [laughs]. Being a mom to a toddler, I
am constantly learning as I go. Being a business owner
with no previous magazine experience, I am constantly
learning as I go. Mix all that together with a global
pandemic, preschool shut downs, not being able to
work for three and a half months, and the USPS being
deeply e ected, and out pops a complete circus [laughs].
Your husband is a tattoo artist. How, if at all, does he
contribute to the mag?
He helps a ton! He paints almost all the set backdrops
and turns my terrible stick- gure drawings into actual
shirt designs. Plus, he morally supports me daily as I’m
chasing my tail to catch up.
Would you rather talk to animals or talk to the dead?
Truthfully, some of the most important people in our
lives have passed, so I’m not sure! I would really really
want to talk to my dad, but then all that leads to is
wanting them physically here. So animals, [I guess].
Am I trippin’, or did I see a picture of you with no front
teeth?
See question #2 [laughs].

Photo by Jennifer Garcia

Tits or ass?
Depends on who I am looking at.
To what do you attribute Camp Out’s success?
I really put my all into it, like everything I got. I respect
and value my team, the models, publishers, and
printers that I work with. I focus on their time and all
their di
erent personalities. With all of us trying our
best to make sure everyone is as happy as they can be,
we put out the best work possible.
How important to you is diversity and representation
in your mag?
Extremely important. I want everyone to be able to see
a bit of themselves in the magazine.
What’s the worst job you’ve ever had?
I’ve weirdly loved something about all the jobs I’ve had!
From being an umpire, to selling pies at Marie
Calendars, from being a Hooter girl, to bartending in
dive bars, they’ve all had rad things about them.
What sage wisdom would you o
er to anyone starting
their own biz, mag, etc.?
Roll the dice and try! You never know what will happen
if you don’t try. You might fail, but fuck it. At least you
tried.

41
Take a look at any tattoo
what you see is a high-con
of pallid limbs and deeply
each square satisfying th
uniformity not theme.
That’s because dark s
stitching. It is often deem
work with, and when th
the resulting work is oft
than showcased —
led a
doesn’t pop” pile. Some a
tattoo the textured terrai
than attempt to put ink in
Enter body-art broker M
artist & two-time Ink Mast
Rose Fergerstrom. The
chiseling away at the mis
tattooing dark skin, pa
constructing a schoolhou
clients alike via
@DarkSkinTattooTips.
I spoke with them both
page, discrimination in th
the two plan to ensure tha
Photo by Jason Edward
precedence over equality.
Dar Ski

Instagram and I bet
trast quilt made up
saturated images,
e pattern through
kin disrupts the
ed “too di
cult” to
e task is taken on,
en archived rather
way in the “it just
rtists would sooner
n of mutilated skin
to melanated limbs.
alka X and tattoo
er contestant Angel
two have been
onceptions around
ving a path and
se for artists and
their
Instagram
about the shared
e industry and how
t “pop” stops taking
Tatto
p
Photo by Jessica White Robinson

When and how did the idea
come about?
Malka X: Angel is the mast
She started it way before I jo
started to work together, th
become more clear everyda
for community, education a
Angel Rose: I started this
technical knowledge of ta
recognition on network tele
troubled me day in and day
gaping hole in my knowle
came to working with darke
As an artist in the middle
2020, it was hard for me to
really hard, scrutinizing loo
clinging to an embarrassing
of racism. I had been told m
most tattooers I know hea
However, in my admittedly
dark skin, I found it to be
di erence. I sat with myself
to nd that the industry
di cult and intimidating to
thought.
As I got more comfortab
concluded that the stigm
entirely a myth. I [felt] that
complacent. I am sometim
and crippled by not know
platform. Suddenly, it all b
Be rid of this myth. And 2.
how to work with dark skin
the sad underrepresentatio
world. It’s a hefty set of g
somewhere. And so, @Dark

for @DarkSkinTattooTips
ermind behind this page.
ined the team. Since we’ve
e vision for this page has
y. We want it to be a place
nd conversation.
page because despite my
ttooing, and despite my
vision and social media, it
out that I had a massive,
dge of tattooing when it
r skin.
of the revolution that is
see where I could make a
for a long time and took a
k at the tattoo world only
I am a part of was still
and unacceptable amount
y entire career that it was
work with dark skin, and
rd the same exact thing.
limited experience with
less intimidating than I
le with it, I eventually
a behind dark skin was
I couldn’t stand by and be
es extremely intimidated
ing what to do with my
ecame clear. We need to 1.
Start teaching each other
to eventually 3. Overcome
of dark skin in the tattoo
oals but we had to start
SkinTattooTips was born.

How and why did the two of you link up?
Malka X: The funny thing is, I had been trying to get in contact with
Angel way before we spoke about @DarkSkinTattooTips. I’m a selfproclaimed
body-art broker who runs a tattoo referral service. I had a
client wanting some black and grey work done and I immediately
thought of Angel. When I emailed her, however, I got a reply from her
assistant saying she was completely booked! Fast forward to a few
months ago when I wrote @DarkSkinTattoo to inquire about who ran it
— it’s very important to know when dealing with conversations around
race and skin — and to my surprise, it was her!
Angel Rose: X reached out to me via @DarkSkinTattooTips. I was very
excited to hear from her because, although I knew that I was merely
sharing information, I could only speak from the point of view of an
artist wanting to learn. I felt that X was the perfect person to ll the gaps
I could not ll when it came to rst-hand experiences of being a POC in
the tattoo world. After our rst phone call, I was extremely impressed
with her knowledge of tattooing and the tattoo industry and I couldn’t be
more happy to be working in tandem with her now.
What do you hope comes from the Instagram? What are your intentions?
What’s next?
Malka X: I honestly just want all the dumb shit people say about tattooing
darker skin to stop. But seriously, besides that I think that this page will
help to break down ridiculous stereotypes that prevent everyone from
getting quality tattoo work. I hope this page will inspire artists to do
more research and educate themselves on new and improved ways to
tattoo darker-skinned clients. Angel and I have toyed around with the
idea of taking the page to conventions so I think a piece of literature or
@DarkSkinTattooTips merchandise might be next!
Angel Rose: I’m going to echo X here, but I will add that we both share a
vision of helping the tattoo world hold itself to a very high standard. We
both are very passionate about giving tattooers and tattoo collectors the
tools they need to come out with the highest quality tattooing
experience possible. The purpose of this page is to educate, and in doing
so I think we will see change in the industry.

What has your experience been in the industry in terms of dark-skin
discrimination? Have either of you experienced it in the industry rsthand?
Malka X: [Laughs] Oh, sorry. I just laugh because I have experienced
discrimination is so many di erent avenues. As a collector, I get told what I
can and cannot get without the artist even being willing to explain or
explore other options. As a tattoo model and pageant queen, I get overtly and
covertly looked over by convention owners, artists and tattoo supply
manufacturers for the lighter skinned models or pageant queens. As a bodyart
broker, I have experienced people not willing to pay my rate or telling
me that I don’t know how to consult them because my skin is darker. I
would like to think that in 2020 we can admit that racism, bias and
prejudice exists in all areas of life — including the tattoo industry.
Angel Rose: Here’s the worst part, and part of the reason I can see this
project’s importance — I am an o ender, too. While learning to tattoo, I
learned to desaturate my photos and to talk to dark-skinned clients a certain
way. It took me a few years of tattooing before I realized that I shouldn’t be
doing any of that. I still nd heavily edited photos of my tattoos from earlier
in my career and think back to times where I could have done better. I
expect better from myself in so many aspects of my life, and I’m so
embarrassed to admit that I was afraid to question these strange archaic,
racist practices. I couldn’t be more glad that I woke up from that bullshit.
What are some of the common misconceptions about tattooing dark skin?
Malka X: People with dark skin cannot get color. Black ink is our only option.
Angel Rose: From a tattooer’s standpoint, the general misconception is that
it is di cult to work with dark skin. We commonly tell clients that they
can’t get what they want because it won’t look the way our white-washed
tattoo-artist brains think it should look. The thing is, there should be no ego
in tattooing. If a client wants something, who are we to tell them that it
won’t look good just because it doesn’t match the photos in the magazines?
Who are we to withhold certain styles of tattooing from them just because it
won’t photograph the same and look picturesque in our portfolio? Yikes
people, seriously. Let’s be better. There is a way to approach all kinds of skin
and it takes a certain amount of humility to remove yourself from the
equation to gure out what the client’s needs really are. If we can do full
color cover ups of black-as-fuck '90s tribal, then we can de nitely work with
a non-Caucasian skin tone.

What are the most important tips you’d give to both artists tattooing
dark skin and clients with dark skin?
Malka X: Just like you would want your client to educate themselves
and do their research before they sit in your chair, make sure you do
them the same favor. Listen rst, then provide your advice! But don't do
it in such a way that makes the client feel as though their power is
being taken. Avoid absolutes like “always” or “never.” The world
changes everyday and so does the range of options darker skin clients
have when it comes to tattoos. The only thing I would be careful of is
how high you run your tattoo machine — people of color sometimes
have softer skin and you can easily burn them or cause healing issues if
you run your machine too high.
Angel Rose: The most important thing, as with any tattoo consultation
is that the artist and the client are both eager to nd common ground.
As much as I preach that tattooers should be able to handle anything —
there are limits to tattooing no matter what. Clients, listen to your
artist. Artists, listen to your clients. Further than that, I like to suggest
that people explore fun ways to punch in a ton of contrast into their
tattoos simply because that’s how I like to do tattoos and I think it looks
great on any skin tone! Also, X is right about the texture of dark skin. It
tends to be much much softer and easier to scar, so starting o slow
and being a little more gentle will bene t a tattoo artist greatly with
their process. I personally really love tattooing dark skin, because the
ink tends to saturate with very little e ort and one pass is usually more
than enough to make it shine.
This idea that a tattoo needs to “pop” in order to be well done is popular
in the industry, and puts whiter skin on a pedestal. What are your
individual thoughts on that notion? How can we ensure that “pop”
doesn’t take precedence over equality?
Malka X: Whew! Well, I’m glad you said it. The issue is simply how we
have decided to score what a well-done tattoo looks like. Tattooing in
the 1840s didn’t include people of color because slavery wasn’t
abolished until 1865! So, we were never a part of the conversation. I
think that if we consider “pop” to only include bright color then we are
perpetuating a non-inclusive (whispers: racist) way of thinking. Maybe
we can redesign the score sheet! Let's make pop mean: clean lines,
smooth shading, sharp design, etc.

Angel Rose: This is interesting to unpack because I can’t
really think of any reason why a tattoo needs to fucking
jump o the skin in order to look good. Sure, bright colors
and dark blacks are very fun to look at, but I have also seen
beautiful very low contrast pieces that just accentuate the
human form perfectly. You don’t have to shout to be
e ective. Sometimes a whisper means so much more. It’s a
matter of adjusting our perspective.
I often reference this quote from Steve Te t of Ink Master
wherein he states “[dark skin] is not the canvas for me.” Do
you think it should be the artist’s right to refuse a tattoo
based on skin color?
Malka X: Yes! Please refuse me if you cannot honor me! I
don’t want you to fuck my skin up. However, I also think
that means you cannot be considered one of the greats. If
you want that title, you must work for it, which also means
educating yourself on things you don’t know about and
improving your skill around things you have told yourself
you cannot do!
Angel Rose: Phew! Someone has to say these things. Part of
my reason for wanting to shed light on this is that I did
participate in Ink Master and I do believe that if any artist
coming out of that show wants to live up to their
recognition, they need to hold themselves to a certain
standard. Being on TV never taught me how to tattoo black
folks. Being on TV never inherently made me a better
tattooer than anyone else. All being on TV ever did was
make me feel like I needed to step my shit up. And so, to put
it bluntly — step your shit up or step the fuck down. Being a
“master” of your craft requires constant growth and
change and Ink Master title or not, that’s what I’m going to
strive for.

What are your thoughts on artists wh
darker skin?
Malka X: Honestly, unless you have a u
blind or allergic to darker skin, I look a
tattooing darker skin as insecure an
citizen of this world — I consider mys
I'm not opposed to trying new things
new ideas! If you're not down for just
your world.
Angel Rose: I think this comes from fe
it’s hateful and I’d start a bar ght over
so holy that they don’t need to even th
lot of cases, I think that artists might w
themselves to succumb to the narrati
think that breaking out of that narrati
perhaps they are insecure in their abili
people with the tools to be better. We
who have overcome that fear, and the
to try out new techniques on their dar
about. One tattoo at a time, I hope to era
There are a lot of dark-skinned celeb
attribute that to?
Malka X: Don’t get me started! Yo, have
It hurts my heart! That’s for Kobe, ma
only thing to blame is a lack of educati
same way! Period. If an artist hasn't g
their license suspended until they take
Angel Rose: Okay, rst of all, X, I love
absolutely right, a lack of education fr
fault here. This is why putting photos
skin out into the tattoo world is so im
don’t know. So, let’s show them.

o refuse to tattoo or avoid tattooing
nique situation or reason like being
t artists who refuse to tattoo or avoid
d complacent. Just as a regular-ass
elf a life-long learner! Which means
or expanding my knowledge around
that, something has got to be o in
ar a lot of the time. Sure, sometimes
it any day to those who think they’re
ink about being inclusive. But — in a
ant to be inclusive, but have allowed
ve that has told them they can’t be. I
ve can be extremely intimidating and
ties. This is why it’s important to arm
have received messages from artists
y come to us feeling very empowered
k-skinned clients! That’s what it’s all
se that fear.
rities with poor work. What do you
you seen LeBron’s Kobe tribute tattoo?
! Okay, woosah! I honestly think the
on. You cannot tattoo everyone in the
ured that out by now, they may need
a class.
you so much. Secondly, I think she’s
om both the client and the artist is at
of stunning, beautiful work on dark
portant. People can’t know what they

I’m sure there are artists, and even clients, out there who
are still staunch in their belief that tattoos are for light
skin only. That said, has the project been met with any
resistance or backlash? Praise and support?
Malka X: We have been met with so much love and
support! I absolutely love our followers. They are willing
to share information, slow to judge others, they engage in
di cult discussions and no one takes anything personal. I
think everyone who follows us understands that this is a
community, which means it’s a place for support and
learning.
Angel Rose: I did have a few really agitating responses to
my o cial announcement of creating the page. Some
people said that “black folks just need to accept that
tattoos don’t look as good on them,” and one guy actually
tried to launch into a very heated debate with me about
why black people are more racist than white people
(insert mind-blown emoji here). This is one of the things
that makes this project emotionally taxing, because no
matter what type of change you try to make, you will
always be met with resistance. For all the beautiful
wonderful support we get, those few ignorant comments
keep me up at night. I wish I could help them see what a
beautiful movement we are all a part of. It reminds me
how much we have yet to change, but simultaneously,
that makes our positive responses mean so much more.
And we have gotten a lot of positive response. It’s honestly
more than I could have ever asked for.
END.

Art by Joshua Giovanni