This is the design that began my exploration into floral tattoos. Because of the size of this piece, it’s best made (or at least finished) on the model. If this isn’t possible, I recommend using kinesiology tape with a paper backing and making a series of tattoos—one for the crown, one that spans the area between the cheekbone and base of the neck, a few short lengths to cup the shoulder, and one to span the length of the arm. On this large tattoo, it’s helpful to work with one flower type at a time, adding each type throughout the length of the piece. (For insight into specific floral placement and color layering, see “Design Process,” page 22, in “Tools and Techniques.”)
STEP 1: Cleanse the skin with astringent and allow to dry.
STEP 2: Using a series of manageable lengths, create the base of the tattoo by firmly pressing the tape pieces to the skin. Trace a continuous line from the center of the forehead, just under the hairline, around the side of the face, across the back of the neck, and down the entire length of the arm to the fingertip.
STEP 3: Add multiple short lengths of tape to cup the shoulder—the design will be fullest here.
STEP 4: Trim all the flowers to the desired length. Cut the scabiosa, blushing bride protea, zinnias, several of the mums, and snowberry flush. Retain some stem length of 1 in (2.5 cm) or so on the pieris, carnation, heuchera, and several of the smaller mum blooms to float over other deeper materials.
STEP 5: Add a fine film of adhesive to the tattoo base, spaced every few inches, preparing spots for your first floral type. Squeeze out more adhesive—about a quarter-size pool at a time—into a little bowl or scrap of cardboard. As you add materials, dip each one into this glue reservoir before adding it to the base.
STEP 6: Begin with the dark scabiosa. Dip each scabiosa bloom into your glue reservoir, then press against the glue spots on the tape. Hold each for 10 to 15 seconds to make sure the flower adheres.
STEP 7: Add the protea throughout, clustering blooms together to create areas of fullness. Follow with the zinnias, mums, snowberry, and pieris, one type at a time. These base layer elements should mostly cover the tape.
STEP 8: Add the rest of the materials, floating them above the base landscape: the carnation, astrantia, ornithogalum, heuchera foliage, and the remaining mums with slightly longer stems, floating these over the base layer.
STEP 9: Add the delicate finishing materials: tiny buds, white squill florets, and the sweet pea tendrils.
