Sean Shares a Host of Traditional Tattoos

I ran into Sean at the Foodtown in my neighborhood and when I stopped to talk to him about his tattoos (he has nine), I ended up with photos of several pieces, all of which reside on his left arm.

Most of the designs are traditional tattoo subjects, all of which were inked by Eli Quinters at Smith Street Tattoo Parlour in  Brooklyn. Work from Smith Street Tattoo has appeared previously on Tattoosday here.

First up is this amazing lighthouse:

Sean explained that this tattoo is for his mother, as this tattoo is based on her "favorite lighthouse," the Fastnet Lighthouse on the most southerly point on the coast of Ireland.

Then there is this owl tattoo:

This was done for no other reason that Sean has always liked owls. If you love owl tattoos, be sure to head over to this site.

Then there is the elephant tattoo:

He has this piece because "elephants never forget".

I know we posted a sugar skull yesterday, but here's another one:

This was all Eli's design. Sean gave him free reign and likes the fact that it is unusual in that there are not a lot of colors in it, like one sees in most sugar skull tattoos. For all that have appeared on Tattoosday previously, check this link.

There is also the traditional female figure, not modeled after anyone in particular, just done in a traditional style:

And Sean's last tattoo is this bat:

He told Eli that he "wanted something spooky" that included the moon. Quinters free-handed this piece, starting with a white Sharpie and then finished with a darker Sharpie before finishing the tattoo.

What's neat about all of Sean's tattoos is that they flow nicely together, as readers can see elements of many of the tattoos on the borders of the photos of specific designs.

Thanks to Sean for sharing these amazing tattoos by Eli Quinters with us here on Tattoosday!

Mike's Tribute to His Thai Heritage

There are generally two kinds of Tattoosday subjects (and by subjects I mean people):

Those that let me take a picture or two and I never hear from them again, and those that send me nice messages and a correspondence more or less develops.

Last weekend I met a guy named Mike at the laundromat (which is turning out to be quite a lucky locale for inkspotting) and he falls in the latter category.

Not only was Mike friendly and interested in the site when I met him, but he has followed up our initial conversation with e-mails that have helped me create a much more thorough and well-rounded post than many readers may be used to.

Mike's tattoo is a tribute to his heritage. His father is from Thailand, so he considers himself "50% Thai". Check this out:


This piece does wrap around the left bicep, and on either side of the elephantine temple, there are "singha" lions:

























The idea for this tattoo started with a concept and evolved into the finished work in flesh above.

Mike started with the basic images, found online in the form of the elephant and lion masks, and the photo of a Thai temple:



He notes that he wanted to use the Tribal elephant mask "because the Elephant is a national symbol of Thailand, they [were] used ... in wars and ... represent strength. I chose the Tribal 'wood' look mainly because it looks great and I thought it represented the 'old/history' of Thailand." He added that he finds Thai temples "amazingly beautiful" and that the two Singha lions on either side of the temple in the design "represent protection, and they usually are at the entrance ways of many Thai buildings".

He then tinkered with these images in Photoshop and came up with this rudimentary design:

He took this artwork to Regino Gonzalez at Invisible NYC. Mike explains, "I showed him my idea and he actually kinda chuckled a bit. I told him I realized [that] this was a real shitty representation of what I want and that I hoped that he could do ANYTHING with it."

Mike continues, "...And then literally three days later, he called me into the shop and when I walked in, he had this HUGE AMAZING piece of art...I just turned to him and said, 'Let's do it' [and] I ... sat down right then and there for four hours and had the outline done ... I ... went back about three weeks later and had the black color and shading done, and then about three more weeks later I had the final color done."

What Mike explains is typical of great tattoo work. So many novices to tattooing are surprised that a nice piece takes a while, unlike it does on the reality tattoo shows, when an eight-hour piece often is edited down to a few minutes of air time. It's also the recommended way to get a great tattoo: bring in the framework of an idea and let the artist go to town.

And, if you have a good artist (which you should have, if you've done you're homework), you should put your absolute faith and trust in them. Case in point, Mike recalls "I asked Regino how he was going to color it and I was pretty nervous ... he looked at me and pointed to his head and said 'Trust me, I have a plan'. And that was it ... I walked away with what I think is an amazing piece of work ... I have since recommended Regino to anyone who asks my opinion, and I will continue to [do so] ....".

Incidentally, work from Regino has appeared previously on this site here.

Thanks to Mike for sharing his incredible work with us here on Tattoosday!