Drawing For Tattoo Design: 3 Days to Smarter Tattooing Hint Its a Process Cooper EP 250
3 Days to Smarter Tattooing…Hint It’s a Process
| Cooper | EP 250
Today we have a real treat with some great knowledge drops from killer artist and tattooer, Cooper. Coop is very much about his process; he's very thoughtful, plans very thoroughly, and is extremely process-oriented. So, if you're curious about how really high-level illustrative style tattooers plan their tattoos out and execute, this is the episode for you. Cooper has a very specific kind of order of operations that he goes through with each and every tattoo and was kind enough to lay it out for us.
In the article we’re primarily going to talk about the importance of having your own process, and ways you can start to develop one of your own. Sit back, take notes and enjoy!
This episode was made possible thanks to:
Interview By Jake Meeks —
Writing By Daniel Pushcarich —
Topics: Tattooing, Illustration, Creative process for tattooers, cooper, @the_superstition, Tattoo Reference, Tattoo Process, Tattoo Design Ideas, Narratives in Tattoos, Storytelling
“People are always looking for a trick, a tip, or a piece of equipment, and the cliched thing we always tell them is ‘No man, you just gotta draw more, learn more, do a few drafts first’”
— Cooper
For over 23 years, Cooper (@The_Superstition) has been a pioneering tattoo artist, developing his own application method and creating a signature art style. He has coined the "Deco Pulp" style of tattooing, which uniquely blends art deco, pulp illustration, and graphic design. Cooper's large-scale, bold illustrative work has made him a true force in the tattoo world.
Cooper's meticulous attention to detail and exceptional draftsmanship instill complete confidence in his clients. They trust him to problem-solve any complex fit and form ideas, and bring their tattoos to life with precision and care. His distinctive tattooing method and unique style ensures exceptionally long-lasting results, setting him apart from other artists in the industry.
Cooper is currently moving from San Diego to Denver, CO and would love to get in touch. Reach out to him to get tattooed at: bookingforcooper@gmail.com
Please enjoy!
INTERVIEW LINKS, MENTIONS, AND SHOW NOTES BELOW…
SELECTED LINKS FROM THE EPISODE
- Connect with Cooper:
SHOW NOTES
- [00:00] Intro
- [02:47] Beginning at the begining
- [10:35] Wanting to Be Around Great Artists.
- [12:13] Do I Tattoo at this Convention?
- [14:06] What Does Tattoo Illustration Mean (to you)?
- [17:47] Start A Conversation, But Don’t Give It All Away.
- [20:45] Editorial Illustration & The Power of Expression
- [27:26] A Drafting Process that Works for You
- [31:45] Knowing Where You Stand As An Artist
- [34:23] The Dashboard And List Method Of Drafting
- [38:44] Thumbnailing and Roughing Out Your Ideas.
- [40:09] Utilizing Reference! How, When, & Why To Avoid Becoming A Slave
- [42:57] Using Researching to Define the Piece
- [45:30] Notes, Thumbs, Rough Sketch, Research and Reference & Checking in with Fresh Eyes
- [47:02] Detailed Drawings
- [49:08] Finding the Character of the drawing
- [51:16] Getting away from Digital Materials.
- [54:57] Having a process to solve problems before tattoo day
- [1:01:44] An extended Consultation process.
- [1:04:24] “Vanity” an Illustrative Example
- [1:06:11] That’s a wrap/ Where to Find Coop
MORE COOPER QUOTES FROM THIS INTERVIEW
What Does Illustrative Tattooing Mean (To You)?
[14:06] “When people come to me and they say ‘I want something illustrative’, it’s usually something that looks like refined classic art, but it’s more line based and punchy. Like the Golden Age of Illustration or magazine cover illustration.”
— Cooper
This is a tough one actually. Okay, so then what is an illustrative tattoo? Cooper suggests that having an illustrative style is more a level of refinement and uniqueness, rather than fitting into a genre. This, I think, is a nice catch-all way to describe artists you can’t really put your finger on.
When it comes to tattoo artists such as Tom Strom, Steve Moore, Mike Moses, or Teresa Sharpe, it's clear that they possess a unique and distinguishable style that defies categorization within a single genre. However, despite their differences, there are certain commonalities that these artists share, such as their ability to imbue their designs with a captivating narrative or story.
Secondly, a crucial aspect that sets these illustrative tattooers apart is their level of drafting skill, which has been honed over years of hard work and practice. They also understand the importance of having a well-defined artistic process when it comes to designing tattoos.
Start A Conversation With Your Design, But Don’t Give It Away
[17:47] “The implication of ‘what could be’ is what illustration is about. It could be this, it could be that. It’s the starting point of the story. Movie posters [for example], are suggestive. They want to pique the interest and bring up a few topics without telling you everything about it.”
— Cooper
I’ll expand a little on that last section. Let’s use the word “Suggestive”. For example, a great book or movie rarely lays everything out in a straightforward manner. Instead, they employ a narrative structure that leads the audience along and gradually reveals information over time. By building suspense and tension, they keep the viewer engaged and interested.
Similarly, when designing an illustrative tattoo, the artist must ensure that the design is visually compelling from all angles. The goal is to create a piece of art that draws in the viewer, even if they only catch a quick glimpse of it under a sleeve or pant leg. By strategically placing suggestive elements throughout the design, the artist can encourage the viewer to examine the tattoo more closely and ask questions about its meaning. That’s the goal.
Drafting A Tattoo Process That Works For YOU!
[27:26] “I feel like this is something we all probably need to think about a little more. Just having a clearly defined idea. Then say, ‘exactly what do I want out of it, what’s my approach?’”
— Cooper
Can you draw without any trouble? Do you have ideas for days, and you can slam out drawings like it’s second nature? I don’t want to speak for you or anyone else, but it’s likely that it takes you a bit of time to really get things going.
If you're a tattoo artist who struggles with generating ideas and producing drawings, it may be time to establish your own creative process. A process is like a key that unlocks the door to your creativity, enabling you to move from a blank piece of paper to a fully formed tattoo without feeling overwhelmed or anxious.
This is a diagram Cooper made in order to keep himself on track. It shows the 3 main aspects involved in being a tattooer and how they interact, then breaks down some of the individual traits involved in each one. this is useful for people who are taking notes on how to specifically be a more well balanced artist, and it's a critical element to Cooper's seminar material.
Great artists often have a defined process they follow before starting a project. This may involve creating thumbnails or sketches, conducting research, or generating more detailed renderings. Your process can be as simple or complex as you want it to be, but having a set of steps to follow can help you produce more substantial and engaging ideas.
The Dashboard and List Method of Tattoo Drafting
[34:23] “when I come back to my drawings and I look at the top of my dashboard I say, okay, is it hitting this? Is it doing that right? Then I look at my [side] list. Can we get rid of something to make it even simpler?”
— Cooper
Cooper has a really thoughtful and well-defined, and extensive process. One particularly important detail of his process is his workstation setup. He has a system of checks and balances that really help to keep him on the right path. I also happen to really like this set up being an avid note maker. We’ll call it the “Dashboard and List Method”.
The dashboard and list method is a drafting setup that involves dividing your workspace into two distinct areas. The “Dashboard” is a set of standards that you give every drawing or project. These can be very personal and may change over time as you develop. Common ones would be:
- How does it look at different distances?
- Am I varying my line weight?
- Do I have a hierarchy of shapes?
The “List” is usually a smaller space, located adjacent to the dashboard. This area can be a separate piece of paper or a separate section of your drafting board. It usually holds the requirements for the project or design, or in the case of most tattoers, client input like:
- Location on the body
- 3 specific flowers
- Environment of the illustration
- Elements like characters or details like a baseball cap
Try it out! You can add or remove anything you’d like to tailor it to your specific needs.
Having a Process To Solve Problems Before Tattoo Day
[54:57] “The actual act of tattooing is hard enough on its own. You want to be able to sit down like, ‘okay now my job is just this part’. I don’t have to worry about how does this look, [where] does it go, what color is it gonna be, how heavy do the lines need to be. All of that stuff has been figured out”
— Cooper
So, why go through all this trouble, why try and add all this stuff to what you already do? It seems like having something like a process just overcomplicates the whole idea of designing a tattoo. But, consider a few ideas.
Having a systematic approach to your creative process can simplify things immensely. When you have a set of steps that you're used to following, it streamlines your ideation process and gives you a clear direction. You're less likely to get stuck on a difficult idea because you have a consistent groove to rely on.
This approach can help you avoid frustration and stress on tattoo day because you've already done the bulk of the work. All that's left is to apply the stencil and put the ink into the skin.
Bonus: Utilizing Reference! How, When, & Why To Avoid Becoming A Slave
[40:09] “If I go to my reference before I get my thumbnails and my sketches done it creates this groove or stain in your mind. You want to try to do the other stuff first and then use reference to, sort of, grade your own test.”
— Cooper
Reference can be one of the best tools to work out the final details of a tattoo design. It gives you an opportunity to really fine tune and hone in on more specific details. Let’s take ravens for example, they’re pretty similar to a crow in shape, but a raven has a thicker curvier beak, more developed bristles on top of the beak, and a sort of shaggy beard.
But, here’s the problem. When you add reference too soon in the process you can end up getting married to those shapes and positions. It can really stymie your process and drain the potential for you to come up with something more unique. Even if you dump the reference and try to keep moving it can be really hard to get that image out of your head. So a good rule of thumb is to definitely use reference, but utilize it more like a fine tuning device. Something to square up whatever you missed.
PEOPLE MENTIONED
Still thinking about your OWN process and what it could look like? Try Jake’s process with the Fireside Simplify Course!
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Drawing for Tattoo Design
Your tattoo designs starting to feel stagnant? Feel like you’re not progressing? Drawing is the single most important piece of the tattoo process. No level of technical tattoo skill can overcome bad composition and draftsmanship.
Fireside Tattoo Network simplifies the tattoo design process with the Fireside Method. By focusing on the principles of Shape, Value, Edge and Color, we help you identify and solve your biggest challenges early in the design process.
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