Nobody here works in everything. Read what each style asks of you in time, money and healing before you pick one.
Skin, placement and how much sun you get all change what holds. Fine line on a hand fades in a way fine line on an inner arm does not, and we will tell you that before you book rather than after.
If your idea would sit better in another language, we will say so, and usually point you at the resident who speaks it.
Six styles between six pairs of hands. If your idea sits between two of them, that is usually the interesting one.
Solid black and heavy contrast. Bold shapes that stay readable at arm’s length after twenty years. Noor and Sena lead this.
Single needle work at small scale. Beautiful up close, and honest about how it ages: we size up rather than crowd a design.
Traditional composition, wind bars and backgrounds, planned as a whole limb rather than a collection of pieces. Tam books these in multi session blocks.
Traditional bones with a wider palette and deeper rendering. Strong outline, saturated colour, built to hold.
Body architecture: pieces drawn to the shape you already have, following the line of a shoulder or a sternum rather than sitting on top of it.
Hand drawn, never typed out of a font menu. We letter to the placement so it reads on a curve.
Four brackets that cover almost everything we book, with the sitting length and what usually lands in each.
One sitting under three hours. Fine line, script and small flash sit here.
Four hours, one design, one heal. Most ornamental and neo traditional work.
Seven hours with breaks. Large blackwork and the first sitting of a panel.
Two to six sittings a month apart. Sleeves, back pieces and anything Japanese.
Consults run forty minutes and cost nothing. Come with references, a rough placement, and a budget range. You leave with a date, an artist, and a price band.
