Many tattoo designers and clients get a new tattoo to think long and hard about the make-up artwork that will be placed on the recipient, but sometimes can forget about the overall composition of the tattoo in the customer's scheme and # 39; s body and other existing future works of Egypt. This article will not try to discuss the nature of the forms and forms of art that may occur, but rather how art works with other works of art and with the body of the client himself.
The human body is a continuous set of shapes and forms. This range of forms can be seen differently by each of us. Tattoos help define these shapes and forms and allow these areas to accentuate, merge, divide, and redefine when placed correctly.
Looking at the human arm, probably the most common area for tattoos (at least recently in Eurocentric societies), you could see elongated ovals with many curves, a visible flatter area on the outside, a visible rounded front area, a denser, less visible area inside and less curved, but still rounded area, half visible at the back. Within this, one can see smaller ovals or triangles in the general series of curves. Shrinking the area in which you often look draws the viewer to denser and more limited areas. Making tattoos over these ovals, triangles, flat spots and various levels of immediate visibility shows how the artist and the client see the human body and the work itself.
Personally, I have a tattoo on my right arm, and I (with the help of my artist) placed it so that its main long oval shape sits directly above the outer flat proportion of my muscles in the middle of my outer arm. Extensions from the design then hover over parts of my curved arms, extending to the following more flat areas. The longer parts even extend to what I would consider as the next section of my body, back and chest. It is placed in such a way that the main part of the image is visible, and smaller (but still important) details are visible with more inspection (of course, more easily, without a shirt).
It is placed not only because of the design itself, but also because of the future work that I expect to do. There will be some works in the background and other works of art that will effectively “bounce” against existing works of art in various neighboring places. This work will emphasize the curves that lead to the larger part, showing how I (and my artist) see the shapes and shapes of my body, joining together to make a more continuous canvas.
And it is this canvas that must be attracted to the artist and the attention of customers in order to provide them with information, even ammunition in some way, so that they can make the most meaningful decisions about which projects to get and where they will be placed. Artistic design can be designed to fit these spaces in a variety of ways, by rotating, changing and personalizing designs, and even choosing colors and shades. It might be undesirable to modify the predefined illustrations, so other methods, such as reducing or increasing the size and using borders or lines, can be used to make the project work well with the client’s shapes and curves.
By taking into account the contours of the body and the geometric associations and how these forms all work together, any layout of tattoos can be improved. Clients have to work with their artist and get some ideas of placement in art and decide what is best for expressing their body, which they want to do. Look at yourself in the mirror and see what forms and areas you see. Think about what kind of future art you may want to get, and see how you dictate and what achievements, what space you can fill. This simple step in visualizing your body will make your tattoo more meaningful and beautiful, providing longer lasting pleasure and satisfaction for your next tattoo.
