Tattoo Machine Engraving C. Zammiello 2007 The tattoo machine is an instrument developed and used by tattoo artists that lends itself directly to the intaglio process as a form of direct engraving on metal plates. Unlike a vibrating electro engraver such as those produced by the Dremel corporation, a tattoo machine incorporates a variety of different size needles from the finest single point, called a liner, to large multi-needle clusters called shaders. These shaders can contain up to 18 needles stacked in different configurations, such as round groupings or in line groupings. This aspect combined with the unlimited degree of adjustability and comfort of the machine while working presents a much more controllable and natural drawing apparatus for engraving. The machine is held in a more normal position such as a pen or pencil would. The bulk of the machine rests on top of the users hand while the pen-like tube and grip are held in a manner consistent with drawing. Multiple adjustment capabilities give the user a wide range of tonal resources, from a fine, thin line to bold massive tonal flats. By adjusting the flow of voltage from the power source to the machine, it is possible to control the depth of engraving with any given needle grouping. The machine operates on the principle of reversing the magnetic poles of two electric coils, creating a back and fourth movement of the needle inside the tube. It is powered by a separate power source or transformer that is capable of adjusting the amount of amperage directed to the coils of the machine. This converts into small or large movements (cycling) of the needles. By adjusting the current and voltage flow on the transformer you have the ability to adjust the speed and power of the needle movement. Current is switched on or off via a footswitch. Further adjustments are present on the actual machine in the form of spark-gap between the coil points and needle positioning in the tube. These adjustments combined with a large assortment of needle groupings and shapes give the artist an extended control of engraving possibilities. The mark created by the machine is fundamentally a dot or series of dots that, depending on the needs of the artist, can conform to a line, fine halftone shading or bold, velvety blacks. The needles, being made of high quality surgical steel, will blunt or hook as known in the tattoo industry, with the first few hits on the metal. It then becomes a stable tip that will more or less last for long periods of work depending how deep the artist is engraving the metal. 1
1. The Tattoo Machine A basic tattoo machine (fig. 1) consists of two electro-magnetic coils, a capacitor, and armature spring with a needle connected to it, running through a tube. Tattoo machines vary in appearance but they all run basically the same, performing the same function of driving a needle up and down very fast. It operates by connecting to a power source and running an electric current through it. When this happens, the two coils become magnetized and attract the metal armature bar to them. As the armature bar moves down, the needles, being connected to it, also move down. When this happens, the contact points separate from each other, causing a break in the electrical circuit. At this point the machine stops, the coils become unmagnitized and the armature bar springs back up, bringing the needles with it. As it springs back, the contact points touch each other and make a circuit again, starting the entire process over again. Basically, the machine becomes magnetized and unmagnitized causing the needles to move back and fourth very rapidly. It is extremely fast and can t easily be seen, but it does create a telltale buzz as the circuits separate and contact over and over. The machine itself consists of the coils, capacitor and armature held together in a frame. Tubes that match the different size needles groups slide into the frame. The grip slides over the tube and is secured in place. The needles are inserted through the tube and fastened to the armature by way of a loop at the rear of the needle bar (fig. 2.). Fig. 1. Two basic tattoo machines. 2
Fig.2. Tattoo machine components 2. Power The machine is connected to a power supply, or transformer (fig. 3) by means of a power cord. These can be a double pole clip type or a single mini phono jack plug. I prefer the mini plug for its ease of use. Tattoo machines run on direct current. The power supply (transformer) converts AC current from your home electric supply to DC for the machine. It also controls the amount of voltage sent to the machine, which in turn controls the force of the needle stroke. Also connected to the transformer is an on/off switch in the form of a foot pedal that controls the power to the machine. This is a straightforward way to turn the machine on and off while you are drawing, much like someone would operate a sewing machine. Fig. 3. An example of a power source or transformer. 3
3. Needles and Needle Groups Needles for tattooing are soldered on bars and are referred too as needle bars. They are made either of plain steel or stainless. Both types are equally strong, but the stainless will not rust or pit over time. They come in two basic types; liners and shaders (fig.5). Liner needle bars are round on the end, where shaders are flat. Liners are meant to use for line work, or what tattoo artists call outlining. Sometimes they are referred to as outliners. The needles are soldered together in tight, round groupings. Needle groups for lining (outlining) come in many sizes. One needle groups, three needle groups, four and five, etc One or single needle groups actually have two or three needles soldered with one sticking out ahead of the other two. The two needles that are kept back add strength and stability to the single needle. Three needle groups are three needles that are soldered flush with each other at the end and make a thicker line. Four and five groupings make thicker lines respectively. I have found that I actually prefer the larger groupings of liners for shading the metal plate as opposed to the flat shader needle groups. The shader groups are soldered flat, next to each other, or in some types, stacked like logs and are used for shading larger areas. They have a unique type of pattern that is very interesting for making skipping and dot patterns on the plate, but I have found that for precise shading, the round groupings work best. The first few strikes against the metal will blunt your needles. They will remain like this for a long time before becoming worn down excessively or altogether broken. fig. 5. An assortment of needle bar groupings. 4
Figure 6. illustrates the needle ends after use on the metal plate. They are very stable in this form, and can last for a long time under most drawing applications. Fig. 6. A single, five group liner and six group shader all blunted after initial use. Fig. 7. A new fifteen needle shader on the left and a used one on the right. In comparison, figure 7. shows a new 15 needle stacked shader next to one which has been used for a few hours engraving a plate. All needle bars have a loop on the opposite end of the needles for hooking onto the armature post. Small rubber grommets are available that insert into the loop for smooth operation and contact between the bar and post. 5
4. Tubes All needle bars have matched tubes which encase them. They are bought separate of the needle bars. Each tube is designed specifically for the type of needle bar it will be used with. An example would be a four needle shader is used with a four needle shader tube. An important thing to remember is that generally suppliers make their needle bars to fit their own tubes. It s a good idea to buy your needle bars and tubes from the same supplier. We are looking for a tight fit where the needles protrude the tube end. This will guide and keep the needles straight. It will also keep them from breaking of under extremely heavy usage. Fig. 8. Needle bars in their matching tubes. Grips are hollow cylinders that are knurled (checkered) for non-slip holding and slide over the tube (fig.9). They come in a variety of sizes and attached by tightening set screws against the tube. I prefer a slim grip on liner needles and a wider grip for the shading work. Grips also come in rubber and plastic. Fig. 9. An assortment of grips on and off tubes. 6
5. Holding the tattoo machine The machine is held by the needle tube grip, much like a pen or pencil, but with the machine frame lying over the top of the hand. Fine lines and shading are achieved by holding the machine at almost a 90 degree angle to the metal surface. This insures that the needles are traveling straight down and the sharpest end of the needle is engraving directly without sliding to the side. This will deliver the truest mark to the metal. You will find that the palm of your hand will rest naturally on the surface of the metal plate (fig. 10). By changing the angle of the machine by a few degrees, you will visually see the needle ends start to slide to the side. By utilizing this action, you can change the effect of the engraving without changing the needles. Fig. 10. The correct position to hold the tattoo machine. When actually tattooing with ink on skin, the machine is held at a 45 degree angle. As you will see, it is a bit too much to make a heavy mark in the metal plate, but works well with light shading. A drawing on normal office paper can be placed directly over the metal plate and drawn right through with the tattoo machine. This is a good method if one wishes to do away with transferring a key drawing or if multiple plates are going to be used. The machine will punch small holes through the paper and into the metal, but the drawing will remain intact, much like a dressmaking pattern with a pounce wheel. In fact the tattoo machine itself was first designed by Thomas Edison as a pattern making tool for the dressmaking industry. 7
6. Drawing on the plate The tattoo machine, like any other tool used in intaglio processes, will take some getting used to. But I have found that people generally take to it rather quickly, perhaps because of its close association with more commonly used drawing apparatus. It s a good idea to have a piece of scrap metal on hand when using the machine to test the strength of the needle marks in relation to power adjustments and also for testing different needle groupings. The machine actually engraves the plate in a manner much like rouletting. A series of dots are produced by the needles, even when drawing a continuous line. With a line, the speed in which you draw will determine the properties of the line. If you move the machine quick enough, you will see the line turn into a series of separate dots. This technique becomes very useful when shading. The tattoo machine lends itself very nicely to the mimicry of continuous tones. Marks are also greatly controlled and effected by the amount of current flowing through the machine. Fine line work is best done with a minimum of power, whereas heavy blacks benefit by extreme current and jackhammer needle action. Figure 11 shows many different effects such as line and shading and the many patterns caused by different groupings and power on a copper plate under magnification. Fig. 11. Close up of the surface of copper after engraving. Notice the prevalence of burrs that the needles throw in the copper surface. These will result in rich, deeply embossed blacks in the surface of the print paper. 8
As you work with different needle groupings you will begin to recognize the particular marks made by each grouping and how to approach drawing with them. An example would be quickly skipping across an area to produce a series of dots in a row. The faster you move the machine across the plate surface, the wider and shallower the engraved dots become. Figure 12 shows this technique in relation to the surrounding outlines on the plate. Fig. 12. An example of skipping the shading needles across the plate. Another technique that comes naturally is the action of flicking the shading needle outwards and off of the plate surface. This results in a gradual lightening of shading by increasing the space between dots and at the same time decreasing their depth (fig. 13). Fig. 13. An example of flicking the shading needles outwards. 9
The printed results from the tattoo machine markings range from exquisite fine shading to rich deep blacks that show actual surface relief on the paper surface. The burrs that are produced by the needles contribute to the continuous tonal effect and recall the feel of a drypoint print. Fig. 14. The surface of a printed tattoo engraving. Fig. 15. Another view of a printed surface magnified to show the rich embossment of the engraving. 10
Below is an example of the copper engraved plate and the subsequent print pulled from it. Most of the discussed techniques are present. Line work has been accomplished with a variety of needle groupings from single to triple. Shading was achieved with round shaders of various groups, including 6 and 8 needle rounds. Along the bottom of the image are representations of both skipping and flicking in shading techniques (fig 16). Fig. 16. Both plate and print of a tattoo engraved image. 7. Adding Multiple Plates. Because of the speed and ease of drawing directly on the metal plate, this type of engraving lends itself nicely to the use of multiple plates for the introduction of color. By utilizing the same key drawing and providing registration marks to it, the artist can add as many plates and colors as needed. The machine will punch right through the drawing if it is on a lightweight paper such as copier paper. In this manner the artist is able to keep adding to the drawing by seeing what and where they have drawn before. I have found this to be a more intuitive, direct approach to color plate making. Basically you are adding color much the same as a cartoonist would color an inked line drawing. The following examples illustrate this technique. 11
Fig. 17. The black Key plate. 12
Fig. 18. Same print with additional color plate added. 13
Fig. 19. A multicolored example using three plates and four colors. 14
When first using the tattoo machine you may find that your work is by default heavy and strong. This is natural given the method employed by the process. In time, as one gets more familiar with the equipment and develops their own working style, lines will become lighter and more varied as will tonal ranges also. The print below is an example of a delicate approach to tattoo engraving. Fig. 20. An example of delicate line work obtainable with the tattoo machine. 15
Fig. 21 Ellen Gallagher working on a plate from the series Deluxe at Two Palms. 16
Fig. 22 Cecily Brown working with a tattoo machine at Two Palms. 17
Fig. 23 Coronet from Deluxe by Ellen Gallagher 18
Fig. 24 So Fun from Deluxe. 19