Most studios explain these at the consult, which spends chair time on policy instead of on your piece. They are here so we can spend that hour on the drawing.
We do not run flash days. Every piece is consulted and drawn for the person wearing it, even when the idea started life on a flash sheet. A design drawn for nobody and applied to somebody is where most twenty-year regret comes from.
Consults by appointment. The door is locked between sessions and we open it for the artist and the client. This costs us most of the foot traffic on Alberta, deliberately: nobody here makes a permanent decision inside fifteen minutes.
$200 at the consult, applied to the final session. Non-refundable, and it does not transfer to another artist or another person. Seventy-two hours notice to reschedule, once. Under that, or a second move, and it is gone.
Ageing is unkind to those placements: high-turnover skin, constant abrasion, shallow settling. It is the work we are asked to fix more than anything else. Wrist, inner forearm and the side of the hand below the thumb are fine.
Cover-ups are two sessions minimum with a four-week heal between. One session on dense work over-tires the skin and heals patchy exactly where it needed to be solid. Hana and Marek lead every cover-up consult.
Every session ends with a sealed care kit, written instructions, and a text line open for thirty days. It is not an upsell and there is nothing to buy at the desk.
We will tell you when we think the piece is wrong.
Not the subject, which is yours. The execution: a scale that will close up, a placement that will not age, a level of detail that cannot survive at that size, a cover-up that wants laser first. Hana is the most likely to say it and she is usually right.
You can override us on any of that except the four declines above, and people do. What you get is the honest read first, in the consult, rather than a polite yes and a piece that disappoints in year six.
Every one of these used to be explained in the first ten minutes of a consult. That is ten minutes of an hour you paid a deposit for, spent on our policies rather than your tattoo. Reading them here means the consult starts at the drawing.
It also means nobody travels across town to be told no at the door. If your piece is on a finger, you know before you write the brief.
Those placements have high-turnover skin and constant abrasion, so the ink settles shallow and breaks up. It is the single most common thing we are asked to fix, and we would rather you like the piece in twenty years.
No, here or at most reputable studios. It books three to five weeks of drawing time that happens whether or not you turn up, and it comes off the final session rather than sitting on top of it.
No. The deposit paid for one specific artist to spend weeks drawing one specific piece for one specific body.
One person. A booth with an audience is a booth where the artist is managing a room instead of working, and long sessions are hard enough.
No, with or without a parent present. Oregon law sets eighteen and we would hold the line anyway.
Policies read, consult clear. Send the brief and we will spend the sixty minutes on your piece instead.
Example interactive prototype. Not a real business. Names, photographs, reviews and figures on this page are illustrative. Identifying details on real client work are changed to protect their privacy. This is what Yeti can build for a tattoo studio in seven days.