Shane O'Neill's seminar in Avignon at Graphicaderme: a review of his experience with realistic portraiture, image construction and his approach to tattooing.
Back to basics
I had the opportunity to attend Shane O'Neill's seminar in Avignon, at Graphicaderme.
Shane O'Neill is an American tattoo artist recognised for his work in realism, and known to the general public for his participation in Ink Master.
He's a long-time friend of my father's., Stéphane Chaudesaigues. Having grown up in this environment, I've had the opportunity to meet him several times at conventions, in France as well as in the United States. When I was younger, I was able to attend several conventions in the USA, including one that particularly struck me, organised on board the RMS Queen Mary in Long Beach, California, by the National Tattoo Association.
We also had the opportunity to visit his parlour, Inkfamous, when he invited us to his home in Delaware.
A seminar organised as part of the association Tattoo & Share. The seminar was centred on the realistic portrait, with two different days: a more technical part, and another more practical one with the live creation of a portrait.
A very concrete approach
What is interesting about this type of seminar is seeing how a tattoo is actually constructed.
We're not just talking about the final rendering, but about everything that comes before it: the choice of needles, the preparation of the sketch, the management of contrasts and volumes.
Everything is thought out in advance.
It is this relationship with construction that I also explore in my article on Artistic identity in tattooing.
See the work in progress
Seeing a portrait done live changes quite a few things.
One understands the steps, decisions and adjustments much better. It makes the work much more concrete, and it removes the idea that everything rests solely on the detail.
An interesting setting
The seminar took place over two days in Avignon, at Graphicaderme.
Other artists were also present, such as Manu Greatand Julien Thibers, with different approaches but always around the portrait and realism.
That's also what's interesting: seeing several ways of working on the same subject.
What I take from it
This mainly allows us to re-emphasise certain fundamentals: taking the time to build, thinking before adding, and maintaining clarity in the reading, and obviously improving technique.
This is also what determines if a tattoo lasts over time, a subject I explore in my article on How a colour tattoo ages.
It's something I continue to develop in my tattooing technique at Avignon, at Graphicaderme.
The seminar took place in Avignon, at Graphicaderme, as part of an event focusing on tattooing and realistic portraiture.
A seminar mainly allows you to understand an artist's working method: image construction, contrast management, technical choices, and their overall approach to tattooing.
A tattoo must remain legible over time. If the foundation isn't solid from the start, the result can be lost over the years, even if it looks good initially.
Observing is an important part of the process. Understanding how a tattoo artist builds an image, makes their choices, and manages their contrasts already allows for growth.
Beyond style, one must look at the coherence of the work, the way in which the pieces are constructed, and how they evolve over time.
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