DJ Minor - What's the most important thing you've had to learn that no one told you that you wish they had? AR - that presentation is as important as ability. Overall presentation, from how clean you are, to opening sterile packages in front of clients, to personality to portfolio composition. The person you choose to present to the strangers trusting you to indelibly mark them is as important as your actual tattoo ability. It can mean the difference between picking you over another artist, or loving the experience they share with you regardless of the outcome of the tattoo ... we have a great opportunity to meet people who have little preconceived notion about who we are ... and what you choose to expose to them can make or break your career.

DJ Minor - How much do you think politics (not government politics) are involved in tattooing? AR - if you mean how much does your pedigree, and who you know come into play? Well, I think we all know of the existence of a certain 'boys club' of artists who travel in the same circles, and who have their own notions of what is and isn't good. The path you take can be as involved in that as you want it to be ... I have no interest in doing the reinvented space broccoli tattoos, or gold-tone biomech any more than I only want to do spooky black and grey stuff. You're as limited as you limit yourself. I think if you do good work, and you don't pigeonhole yourself into one technique you've got a good start. It shouldn't matter who you've worked with, or what you look like, unless your ultimate goal is to play c-lo with the 'rock stars' of tattooing. If good art is the goal, then ignore the gossip and the cliques (and therefore most of the behind-the-scenes $hit at conventions) do your work the best you can, and be yourself, or at least be respectful towards everybody you meet.

DJ Minor - What's the most important thing you've had to learn that no one told you that you wish they had? AR - that presentation is as important as ability. Overall presentation, from how clean you are, to opening sterile packages in front of clients, to personality to portfolio composition. The person you choose to present to the strangers trusting you to indelibly mark them is as important as your actual tattoo ability. It can mean the difference between picking you over another artist, or loving the experience they share with you regardless of the outcome of the tattoo ... we have a great opportunity to meet people who have little preconceived notion about who we are ... and what you choose to expose to them can make or break your career.

DJ Minor - How much do you think politics (not government politics) are involved in tattooing?
AR - if you mean how much does your pedigree, and who you know come into play? Well, I think we all know of the existence of a certain 'boys club' of artists who travel in the same circles, and who have their own notions of what is and isn't good. The path you take can be as involved in that as you want it to be ... I have no interest in doing the reinvented space broccoli tattoos, or gold-tone biomech any more than I only want to do spooky black and grey stuff. You're as limited as you limit yourself. I think if you do good work, and you don't pigeonhole yourself into one technique you've got a good start. It shouldn't matter who you've worked with, or what you look like, unless your ultimate goal is to play c-lo with the 'rock stars' of tattooing. If good art is the goal, then ignore the gossip and the cliques (and therefore most of the behind-the-scenes $hit at conventions) do your work the best you can, and be yourself, or at least be respectful towards everybody you meet.

DJ Minor - What do you think is more important for your own success in the business? a] The art? or b] your personality and your ability to 'sell' yourself?
AR - I think that they're tied for first place. if you're the nicest guy on earth, you might make friends, but shitty art is gonna shine through. However, if your technique is solid, but your personality is shit, you might make some loot, but the other perks of this lifestyle will probably elude you (unless of course you're the one with the drugs...) Overall, good work and a good attitude together will command more respect, and probably affect the way others perceive the experience. i.e. a decent but not amazing tattoo done by a super cool artist will probably garner repeat business, and good word of mouth because the person had a good time, and will remember the experience as a good one...y'know?

DJ Minor - How important do you see creating other art besides tattooing? (such as painting)?
AR - well I don't paint, and I don't care to. But I do think that what you do specifically isn't as important as doing something creative and rewarding in the few hours not spent at work. I cook my a$$ off every night, making up recipes, and using both technical knowledge and creativity to make something new and exciting (and delicious). I personally don't care what you do, write poetry, sculpt mugs, landscape, whatever, if you are using a creative approach to whatever you're doing, you're honing that instinct to use in tattooing later on. Be innovative, or spontaneous, and it will seep into every aspect of your life ... $hit, tattooing is really just a job. How you work it is what makes it more than that.

DJ Minor - Do you think it is better to make sellable flash or flash that you like that isn't necessarily saleable during a] the beginning (apprenticeship/early years)? or b] when you are known and published?
AR - Um, y'know what? I don't have a single sheet of flash out from any point in my career. If you want to make your business selling ideas to other people, if you're into making money off people doing their best impression of you, then by all means, make some pork chop sheets, some hearts and flowers. $hit, man, some guys make their name off flash before they ever do a tattoo .... some people put out crap with their name on it, and people buy it just to collect the name. What do I think about it? If you're trying to be known in the industry, and need a start, put out some awesome versions of saleable stuff.... let people see it, send it to magazines.... whatever. Me personally, I understand the need for flash, but I'm not into making it. Tattooing isn't about fame or money for me, although I appreciate the limited amounts of both its afforded me, so finding ways to get rich or popular isn't really my deal.

DJ Minor - Do you think an apprenticeship should be hard so the apprentice comes out more of a "man" or do you thinks he should be 'groomed' so s/he feels comfortable the whole time?
AR - You're kidding right? There is no such thing as comfortable the whole time. there is no easy way to learn everything that comes with tattooing. The hard apprenticeship, is really just about earning the privilege of a lucrative career in which you sit and draw on people putting up with degrading uncomfortable bull$hit is just one way to teach you the patience and perseverance it takes to deal with the less-than-ideal situations that go hand in hand with tattooing. its not all hot chicks and piles of money. Its dirty toilets. Vomiting drunks. Pants-soiling passed out fat women. Your ability to stick out the lame crap is what tempers your character for all the days in between the 'perfect client with lots of money and pale skin' days. it doesn't make you more of a man, just more of a informed, compassionate tattooer.

DJ Minor - What's the most important thing another tattoo artist told you?
AR - That cute clever bright little tattoos are all fine and good, but those same tattoos done well would've impressed him more. Hahaha. Yeah, I got a pretty crushing critique a while ago, but it has helped me focus allot more on execution of my ideas instead of just the punch line.

DJ Minor - What do you dislike most about the tattoo "industry"?
AR - I'll tell you what I totally hate! all of a sudden tattooers are using the current acceptance of our formerly 'lowbrow' art form to launch careers as would-be 'fine artists'. Are you kidding me? I don't care how well you paint, or how many pompous galleries hang your stuff, the truth is we make our livings stabbing people with metal spikes in their skin. What's 'fine' about that? Its pretty darned crude if you ask me ... all of a sudden you can get tattoo artist t-shirts at hot topic, and more and more x-artists are releasing clothing lines, or putting on their dog-and-pony fusions for the elitists and critics who want to slum it with their more exotic counterparts. Since when was that the point? Remember when it was craaaaazy to have sleeves? Tattooed hands and necks were a huge statement. This was before the days when t-shirts were $40 and snow and skateboards weren't the rich-kid rebellion of choice. I think we as a medium have fallen to easily into the lure of all that used to snub us. I hate it.

DJ Minor - What's the most important thing you've learned about the tattoo 'world' from someone other than an artist?
AR - That we aren't special, and we aren't the boss. Every day some dude comes in and wants to hand you money to do some little name, or shamrock, or whatever, he doesn't care what magazines you were in or how many awards you've won, or even what's in your portfolio. I know this sounds like a contradiction to what I said at the start, but hold on... think about it. This guy doesn't know about art. He doesn't even care. He wants to get what he wants. So do it. Talk to him. Rock out a little extra. Trust me, even well known tattooers would benefit from this. This is where presentation counts. You don't matter as much as this guys tattoo. The more he likes his experience the more he's gonna trust you, next time. Remember that.

DJ Minor - How important do you think it is to associate with as many tattooers as possible whether you respect their work or not?
AR - Um, yeah, um. Every artist has something to teach, even if it's what not to do or how not to be. If you mean networking with lots of artists you can interact with professionally, then yeah, its super important. You never know when you'll need a new job.... however, if you're saying respect their work as in they're rock star tattooers and you want in on their scene, well, then you're a jerk and a socialite, and a sellout. I have no real urge to hang out with tattooers who are so into their specific flavor of tattoos they dis all others, even if their style similar to mine. I want to hang out with enthusiastic artists regardless of what style of work they do. That's important. Everything else is social climbing.

DJ Minor - What is something that a tattoo artist should stay away from to keep from holding back his improvement?
AR - Besides drugs and alcohol, I'm of a mind that believing your own press is the #1 downfall of progress in the tattoo world. Every shop, every convention, every magazine has people who espouse the virtues or some artist or other. Ok. So ... so if you're good, and want to get better, ignore these people. A fragile network of praise to support a fragile fevered ego never got anyone anywhere. In the same breath, neither did constant criticism. Were you a wild man at one time? No one says you have to stay that way. Did lots of drugs? You don't have to keep doing em. Done one kind of thing so long you no longer have to try? Wrong. You're as diverse as you allow yourself to be, you're as limited as you let yourself be. Screw being comfortable. Push yourself. Even if you're the 'silly cartoony' tattooer. try new applications. Strive for greater technical prowess. Look for the flaws in your work, and correct them. Don't let your admirer's fool you into thinking you don't have to keep trying. You're only as relevant as your next tattoo.

DJ Minor - What artists get more credit then they deserve, and why do you think that is? AR - All tattooers get more credit than they deserve. We're art mercenaries, selling our services to other people. Realizing our own artistic expression on other people's bodies. We are just a vehicle for other peoples transformations. Art servants. We get a picture, they get to be changed....

DJ Minor - What do you constantly catch the most flak for fro other artists?
AR - Usually for having a loud opinion about everything. I like debating. I like arguing. It helps me refine my beliefs and opinions. I'm Vegan, I don't do drugs, I live in the woods. So when a guy comes in to get tattooed and he's from the city, and he's into going hunting while drunk .... well you see what I mean. a lot of times, my co-workers just don't want to be involved in the umpteenth discussion about why George Bush is an a$$hole, or why hunting isn't a manly 'sport'. That's cool; I'm never derogatory to the clients, unless they're getting nasty with me. I'm just acutely interested in others points of view. Some artists would rather just get the money and go home. Not me.

DJ Minor - Are there any bad habits you've had to break or unlearn?
AR - Hell yeah! I used to really race through pieces. Super fast. And they never healed right. And I used to be an a$$face to people I didn't think fit the tattoo image I wanted to associate with. And I used to be super competitive with my co-workers. And as a result I got fired allot. So I had to break those little habits pretty quick, and adopt a more reasonable attitude.

DJ Minor - Do you feel conventions or guest spots are the best way to get yourself or your name out there?
AR - Nope.

DJ Minor - What was the hardest thing for you to learn in tattooing that you can do well?
AR - if don't want to brag, but I learned to whip-shade from the best. Except that at first it was more like whiplash shade. I sucked. But rather than water down the black, I stuck it out. Unfortunately there's lots of evidence out there that reflects the effort. Sorry guys.

DJ Minor - What is the hardest thing to learn in tattooing that you still struggle with?
AR - Haha. Like everyone needs to be told my line work sucks. 5 years, and I'm still shakin like Michael J Fox. Like Eddie Money. sh-sh-sh-shakin. Its getting better by leaps and bounds, but it took long enough. Jeez.

All or Nothing Tattoo
2569 S. Cobb Dr.
Smyrna, Ga. 30080
Phone: 770.435.9966
APPOINTMENT INFO



Brandon Bond
Albie Rock
Dave Tedder
Jace Masula
Joe Waulken
Short
Vince Villalvazo
Matt Dunlap
John Lloyd
Birdsong
Tony Mancia
Collaborations



Max Brand



Albie Rock
Brandon Bond
Dave Tedder
Jace Masula
Joe Waulken
John Lloyd
Matt Dunlap
Max Brand
Short
Tony Mancia
Vince Villalvazo




THE GREAT PIT BALL
Shop Expansion Photos
Behind The Scenes
-VICKtory to the Underdog
Our Film Wins Film Fest Award
The Apprentice Corner
Atlanta Braves get tattooed at All or Nothing Tattoo
Brandon Bond returns to All or Nothing
Guest Artist Galleries
Filming of LA Ink with Kat Von D
Tattoo Seminars
Testimonials
New Pictures
Collaborations
StrangleHold Merch
AoN Studio Tour
Halloween Party '05
It's A Wild Ride '05
Past Party Pictures

Inked Nation






Kingpin Supply
  

Eulogy Recordings
 


Tattoo enthusiasts would surely love the collection of tribaltattoos at rankmytattoos.com

Hardnox Clothing

Stranglehold Merch

AtlantaTattooTV