Nobody here works outside their own portfolio. That is the whole reason the list is six long instead of thirty, and it is why the consult starts by routing you to the right hand rather than the first free one.
Single-needle and three-round-liner work at low weight. Script, botanical, small figurative, anything where the drawing is in the restraint. Sloane, and only Sloane.
Solid black at scale: ornamental panels, sleeves, backs, blackout and negative-space work. One piece per session, one session per day.
Bold outline, packed colour, illustrative subject. The style that ages the most predictably of the six, because it was designed to.
Mandalas, dotwork, ornamental symmetry. Measured on the body before a needle goes near it, because symmetry on a curved surface is a drawing problem first.
Multi-figure compositions, full backs, half sleeves that tell one story rather than collecting six. An hour of talking before any sketching.
Two sessions minimum with a four-week heal between them. What can be covered depends almost entirely on how dark the old piece is.
A tattoo is priced by chair time, not by design. The ranges above are honest floors: the smallest thing each artist will book, at the minimum session that makes it worth setting up a station for. Above that, the number is hours.
What moves the hours is not complexity in the way people expect. Detail density matters less than surface area and placement. A palm-sized piece of dense blackwork is a shorter session than the same drawing spread across a ribcage, because ribs are slow and skin that moves needs more passes.
You get an hour estimate at the consult, in writing, before the deposit. If a piece runs over the estimate we finish it at the estimate. If it runs under, you pay under. That is the whole pricing policy and it has not changed since 2014.
No flash days, no walk-ins, no finger or hand work, no cover-up as a first session, and nothing on anyone who has been drinking. Four of those five are in the house rules with the reasoning attached.
Solid black at proper saturation is the most stable thing you can put in skin. It softens at the edge over a decade and stays legible for forty years.
The failure mode is not fading. It is a design that was too busy to read at arm’s length on day one.
Heavy outline holds the shape while the colour inside it settles. That is exactly what the outline was invented for, on sailors, a century ago.
Colour saturation drops perhaps fifteen per cent in the first two years and then largely stops.
Low-weight line spreads. Every tattoo spreads; fine line simply has less material to lose before the gap between two lines closes.
On forearm and outer arm, at a sensible scale, it holds beautifully. On fingers, feet and ribs it does not, which is why we decline those.
No, and not on any day. The door is locked between sessions. Everything starts with a written brief and a consult, which is a policy about the work rather than about being difficult.
Bring it as a reference, absolutely. We will not copy another artist’s tattoo. What happens instead is that your artist works out what you actually liked about it, which is usually not what you thought, and draws that.
$200 an hour, $1,200 for a full day, with a $200 consult deposit applied to the final session. You get a written hour estimate before you commit, and we finish at the estimate if the piece runs over.
Say what you want and let the consult route you. Everyone here works only inside their own portfolio, so the right hand is usually obvious in about two sentences.
References, placement, scale, and roughly when you want it. Five business days for a reply, and no deposit until you have met the artist.
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.