shamack

Terms and Conditions

Sun, 11 Jan 2026 17:28:19 GMT

Tattoo Process & Terms and Conditions – Shamack Tattoo

Last updated: [05/04/2026]

Working with Shamack Tattoo is a structured, high-level process designed for large-scale, detailed work. Each project is carefully planned to achieve the best possible result, both artistically and technically.

By booking an appointment, you agree to the following terms and conditions.

How the Process Works

Every project follows a clear structure:

1. Consultation
We discuss your idea, placement, references, and overall direction. This can be done online or in person.

2. Booking & Deposit
A deposit is required to secure your appointment and allocate time for your project.

3. Design Preparation
Design work is completed close to your appointment date. This ensures the concept stays fresh and is adapted precisely to your body.

4. Tattoo Sessions
Depending on the scale, your tattoo may be completed in a single session or across multiple consecutive days.

5. Aftercare & Healing
You will receive full aftercare guidance to support healing and maintain the quality of your tattoo.

Booking & Deposit Policy

A non-refundable deposit of 25% is required to secure your tattoo appointment. This will be deducted from the final session.

Deposits apply to all bookings, including:

Studio appointments
Guest spots
Tattoo conventions

For large-scale or complex projects, especially 3D concept work, a separate design fee may be required. This covers the time invested in creating a fully custom piece tailored to your body and concept.

Design fees are non-refundable and vary depending on the size and complexity of the project.

Rescheduling & Cancellations

You may reschedule your appointment once with a minimum of 14 days’ notice.

If less than 14 days’ notice is given, or in the case of:

Missed appointments
Late cancellations
Arriving more than 1 hour late without notice

Your deposit will be forfeited.

A new deposit will be required to secure a new appointment.

Design Policy

All tattoos are custom designed based on your consultation and references.

Designs are not sent out before the appointment. This approach ensures:

The concept remains fresh
The design flows correctly with your body
The final result is not rushed or overworked

You will see the final design on the day of your appointment.

Minor adjustments can be made on the day. Any major changes such as subject, composition, or placement must be communicated at least 48 hours in advance.

Late major changes may result in cancellation of the appointment and loss of deposit.

Session Structure & Commitment

Many projects are completed over longer sessions or multiple consecutive days.

This approach allows:

Better flow and consistency across the design
More efficient use of time
Stronger overall results

You are expected to arrive:

On time
Well-rested
Hydrated and prepared

If you are travelling for back-to-back sessions, guidance will be provided to help manage healing between sessions.

UK, U.S. & International Bookings

Shamack works year-round in the UK and regularly travels to the United States and other locations for guest spots and conventions.

Session rates may vary depending on location due to:

Travel costs
Studio hosting fees
Event logistics

For some international bookings or conventions, an additional fixed travel deposit per day may be required.

If a guest spot or convention cannot be attended due to unforeseen circumstances, your deposit will be refunded in full.

Health & Safety

You must be 18 years or older and provide valid photo ID.

You are responsible for informing us of any:

Medical conditions
Skin conditions
Allergies
Medications

In some cases, medical clearance may be required.

Do not apply numbing cream before your appointment. If you arrive with numbing cream already applied, the session will not go ahead and your deposit will be lost. These products can affect the skin and compromise the final result.

Client Responsibility

To achieve the best outcome, you are expected to:

Follow all preparation advice before your session
Follow aftercare instructions provided
Avoid sun exposure before and after your appointment
Communicate clearly throughout the process

The final result is a collaboration, and your commitment plays a key role in the outcome.

Project Suitability

Shamack specialises in large-scale biomechanical and realism work.

Not all ideas or projects will be accepted. Each request is reviewed based on:

Suitability for the style
Scale and placement
Creative direction

This ensures every project meets the highest standard.

Communication & Conduct

Consultation takes place before booking.

By confirming your appointment, you acknowledge:

No designs are sent in advance
The process outlined above

All communication must remain respectful. Any form of abuse, harassment, or inappropriate behaviour will result in cancellation without refund.

Final Notes

By paying a deposit, confirming a booking, or signing any agreement, you confirm that you have read and accepted these terms.

These conditions are in place to protect both your time and Shamack’s, and to ensure every project receives the level of attention it requires.

Useful Information

Tattoo Aftercare Guide
Tattoo Pricing Explained

Start Your Project

If you are ready to begin your project, submit your enquiry through the booking form.

Your idea will be reviewed and the process can begin from there.

Aftercare

Fri, 28 Nov 2025 02:38:57 GMT

Professional tattoo aftercare guide by Shamack Tattoo. Learn how to heal your new tattoo using second skin, cling film, or overnight pad methods.

�� Tattoo Aftercare Guide

(Updated July 2024 — by Shamack Tattoo)

Proper tattoo aftercare is the key to ensuring your new piece heals beautifully and keeps its colour and definition. Every tattoo heals slightly differently depending on skin type, size, and placement — but following these steps will give you the best results.

✳️ If Your Artist Applied a Second Skin (Derm Shield)

The first Derm Shield application should stay in place for up to 24 hours , depending on how much plasma or fluid your skin produces.
It’s normal for a small amount of blood and fluid to collect under the film — this is part of the healing process.

After 24 hours, gently remove the film and wash the tattoo with warm water and a mild, fragrance-free soap.
Carefully pat the area dry with a clean kitchen towel.
Apply a very thin layer of a recommended tattoo aftercare cream .

You may apply a second piece of Derm Shield , which can stay in place for several days, and even a third application if needed.
Always clean and dry the skin between applications.
Do not wear any piece for longer than one week .

If a second skin dressing remains intact, it can be safely worn for 24 hours to 5 days , or until any part of the tattoo becomes exposed.
During this time, fluid buildup under the film is completely normal.

When removing the dressing:

Peel it slowly from the edges, pulling it back over itself (never straight upward).
It’s best removed in the shower under warm water.
Once removed, rinse away any built-up fluid, clean gently, and apply a thin layer of aftercare cream.

�� Important: If you notice any irritation, extreme redness, or discomfort, remove the film immediately and switch to the standard cling film healing process below.

�� If Cling Film Was Applied

Remove the cling film 3–4 hours after your tattoo is finished.
Wash the area gently with warm water and mild antibacterial soap.
Pat dry with kitchen towel (never toilet paper or cloth towels).
With clean hands or disposable gloves, apply a thin layer of tattoo aftercare cream.

Reapply the cream every 4–6 hours for around 10 days — only a small amount each time, as too much cream prevents skin from breathing and can push pigment out.

Avoid all alcohol-based products, hydrogen peroxide, gauze, Vaseline, lanolin, or petroleum-based creams.

After 5–14 days, the tattoo will begin to peel and flake like a sunburn — this is completely normal. Do not pick or scratch it. Let the skin fall away naturally during washing or moisturising.

�� Overnight Pads or Absorbing Dressings

Some clients may receive absorbing pads to wear overnight.
These are designed to soak up any excess plasma or ink that may surface during the first night.

Keep the pad on overnight.
In the morning, remove gently and clean the tattoo with warm water and soap.
Apply a small amount of aftercare cream and leave the tattoo uncovered unless advised otherwise.

Do not rewrap unless specifically instructed by your artist.

�� General Healing Timeline (First 2–3 Weeks)

Keep your tattoo clean and lightly moisturised .
Apply cream 2–3 times a day, only when your skin feels tight or dry.
Wear loose, clean cotton clothing . Avoid synthetics and tight fabrics.
Always use fresh bed sheets the first few nights.
Keep your tattoo away from pets and dusty or dirty environments.
Light flaking and peeling are normal — do not scratch.

�� What to Avoid

Do not pick, scratch, or peel your tattoo.
Do not expose it to direct sunlight or tanning beds.
Avoid baths, saunas, hot tubs, swimming, or soaking for at least 2 weeks .
Avoid contact with unclean surfaces or materials that may irritate the tattoo.
Avoid alcohol and recreational drugs 1 day before and 4 days after your tattoo session — both can affect healing.

�� After Healing

Once healed (after about 3–4 weeks):

Protect your tattoo with high SPF sunblock (SPF 30 or higher) anytime it’s exposed.
Continue to moisturise regularly to maintain healthy, vibrant skin.
Avoid overexposure to UV light; this is the biggest cause of fading.

Long-term care tip: moisturise your tattoo once a week with a gentle, fragrance-free lotion.

⚠️ Important Information

Your tattoo was completed in a sterile, professional environment .
Aftercare is now your responsibility — please treat your tattoo like an open wound until it fully he als.

If you experience:

Persistent redness or swelling,
Pus or fluid that smells unusual,
Bubbling, rash, or increasing pain,

�� Contact your artist immediately and consult a doctor.

�� Recommended Aftercare Products

Tattoo Mousse
Easy Tattoo
Palmers Cocoa Butter / Shea Butter
Studio-stocked creams: Think Ink and Tattoo Goo

(Available for purchase in-studio or at your next session.)

Pricing tattoos

Thu, 13 Nov 2025 21:44:57 GMT

How My Biomechanical Tattoo Pricing Works and What Influences Session Length

Biomechanical tattooing is a highly specialised process that requires custom design, sculpting in 3D, precise planning and focused execution. Every piece I create is built uniquely for the client. There are no pre-made templates and no AI-generated concepts. Each project is shaped to the client’s anatomy, flow of movement and personal vision. Because of this, the time and cost involved can vary significantly.

How the Design Process Works

Every large biomechanical tattoo begins with a digital 3D sculpt. This allows me to build the structure of the tattoo directly onto anatomical forms, which creates a realistic illusion of mechanical elements under the skin. The design is constructed panel by panel and shape by shape. It is designed to flow naturally with the muscles, tendons and body proportions of the client.

For many projects, design development takes one or two full preparation days before tattooing begins. This is important for ensuring that every cog, gear, plate and internal structure works together visually and technically.

What Can Be Achieved in One Day

For black and grey biomechanical work, a full-day session typically covers an area between A5 and A4 in size. Coverage per day depends on:

The number of small or repeated elements.
The size of the shapes.
The amount of realism required in textures and reflections.
How clean and open or dense the design is.

Color tattoos require more time because of layering and blending stages, so color sessions usually achieve coverage closer to A5.

Why Detail Density Matters

Biomechanical tattoos can include:

Large plates or armour sections that are faster to complete.
Complex internal mechanisms like gears, chains and tubes that require precise shading of every repeating shape.
Highly realistic textures that demand careful lighting and depth adjustments.

A piece with many tiny mechanical parts will naturally take longer than a piece built from larger structures.

Body Area and Surface Size

Two clients asking for the same project, such as a full arm or full leg, may require a different number of sessions. Arm circumference, muscle mass, leg length and body shape affect the total surface area. This directly affects the overall time required to finish the project.

Skin Condition and Medical Factors

Skin quality influences how quickly I can work and how well the tattoo settles. Areas with:

Old scars
Stretch marks
Sensitive or thinned skin
Eczema history
Sun damage

may require slower work and different shading techniques. This can extend the length of the project and therefore the overall cost.

Pain Tolerance and Sitting Still

Client endurance also affects the speed of tattooing. Some areas are more sensitive than others, which can impact how long a client can sit comfortably. When a client can stay still and focused, we can progress significantly faster. In highly sensitive areas like ribs or stomach, sessions may need to be shorter, and the total number of days may increase.

Why I Price by Full-Day Sessions

I work in full-day or multi-day sessions because biomechanical projects are large, detailed and require uninterrupted focus. A full-day format provides the best results and the most efficient progress. The pricing reflects:

Custom 3D design
Preparation and stencil setup
Full-day tattooing
Aftercare support and follow-up

During a consultation, we discuss the concept and the body area. After reviewing your answers from the consultation form, I estimate the number of days required and create a clear plan.

Real Examples of What Can Be Done

On this page I will include gallery examples showing tattoos completed in one-day sessions, two-day sessions, three-day builds and full multi-day projects. These examples will show real coverage, real detail level and realistic expectations for your own project.

Final Thoughts

Biomechanical tattoos are a long-term investment in custom art. They combine creativity, engineering and anatomy into a unique piece that only exists on your body. Clear communication before booking is essential, which is why the consultation form and pre-call information allow me to give accurate timelines and transparent pricing.

CALL TO ACTION

If you are ready to begin your custom biomechanical project, fill out the consultation form below. Once I review your answers, I will contact you to arrange a consultation call and provide a tailored plan for your tattoo.

One-Day Tattoos

Tattoo completed in a single full-day session. This example shows the coverage and level of detail achievable in one intensive day of black and grey biomechanical work.

Two-Day Tattoos

Tattoo completed in two consecutive full-day sessions. This level allows more complex shapes, refined structures and balanced composition between larger panels and mechanical detail.

Three-Day Tattoos

Tattoo completed across three full-day sessions. These projects include a high density of elements, multi-layered mechanical structures and advanced shading for a deeper 3D effect.

Full Multi-Day Projects

Large-scale biomechanical builds completed over four or more sessions. These projects offer full anatomical flow, large surfaces, heavy detailing and complete custom construction from start to finish.

Biomechanical Tattoos

Wed, 29 Oct 2025 01:04:22 GMT

When Flesh Meets Machine

The world of biomechanical tattooing blurs the line between human anatomy and engineered design. Inspired by the look of pistons, gears, and synthetic muscle systems, this tattoo style explores the fusion between living tissue and machine.

Over the years, biomech has evolved far beyond a visual trend. It’s become a form of art that connects imagination, anatomy, and mechanics — something that perfectly aligns with the way I work as a realism and biomechanical tattoo artist .

How I Design My Biomechanical Work

My approach to biomech is deeply rooted in 3D modelling and digital sculpture . I design every tattoo using tools like ZBrush to create accurate lighting, shadow, and depth before I even start tattooing. This process allows clients to see how their tattoo will move and wrap across their body before the first session begins.

Origins and Inspiration

The biomechanical tattoo style first gained attention in the late 1970s and 1980s thanks to H.R. Giger’s visionary designs in films like Alien and Blade Runner. These works sparked a fascination with organic machinery — a concept that continues to evolve today.

For me, biomech isn’t just a visual language — it’s an exploration of balance between man, machine, and imagination . It’s about capturing what could exist beneath the skin in a futuristic, engineered world.

Booking a Biomechanical Tattoo

Creating large-scale biomechanical tattoos requires preparation and time. I often work in back-to-back multi-day sessions , especially for international clients, to achieve consistent quality and detail.

If you’re considering starting a biomech piece, visit my booking page to send in your idea and placement. Once the form is complete, I’ll contact you to arrange a consultation where we’ll discuss your concept, reference visuals, and the 3D modelling stage

Modern Biomech: Art Meets Innovation

Today, biomechanical tattoos continue to evolve — from classic Giger-style dark imagery to lighter, more modern interpretations inspired by robotics, engineering, and organic design.

As technology moves forward, I see 3D modelling becoming an essential part of tattooing. It gives artists the ability to build truly three-dimensional designs that move naturally with the human form — the future of realism tattooing is already here.

Conclusion

Biomechanical tattooing is more than an aesthetic — it’s a conversation between creativity, technology, and anatomy. Whether it’s a full sleeve, chest piece, or back project, each tattoo becomes a story of evolution: part human, part machine.

To explore this style or book your next tattoo, visit my booking page or check out my latest work on Instagram .

To find more biomechanical tattoos and other styles go to my Protfolio

What Makes Biomechanical Tattoos Unique

Biomechanical tattoos are create d to look like the skin has been peeled back, revealing a world of mechanical structure underneath — cables, joints, metal plates, or tubing woven together with muscle and bone. Each piece is different because it’s shaped around the client’s actual body flow and structure.

Unlike traditional tattoos, which often rely on symbols or meaning, biomech designs are about aesthetics, movement, and harmony . They become a living sculpture that transforms with the body’s motion.

Interview in Total Tattoo Magazine

Tue, 28 Oct 2025 23:59:48 GMT

“The Future of Bio-mech”

Originally from Poland and now based in Blackpool, Shamack is a tattoo artist

who has wholeheartedly embraced the wonders of digital technology.

He uses 3D modelling techniques to create stunning bio-mechanical designs, pushing his tattooing into new aesthetic dimensions. With his

analytical approach and enquiring mind, Shamack is firmly focused on the future and his enthusiasm is infectious.

When we first arrive at Inkden in Blackpool, Shamack shows me an amazing model of HR Giger’s ‘Alien’ that he has

created using a 3D printer. “I got the software just before the coronavirus lockdown,” he tells me. “So I had plenty of time

to get to know it…” This is typical of Shamack. He loves technology. He is driven,

determined and very motivated. He likes to keep himself busy and he is always looking for ways to develop, whether

personally or through business. Originally from Poland, Shamack came to England in 2005.

He had already begun tattooing. “I was working using my own homemade machines,” he tells me. “I started when I was

14, but at the beginning it was more about the engineering challenge of making a tattoo machine than about the tattooing itself.”

I am curious to know more, and Shamack obliges with the whole story. “A guy we all knew, who was tattooing with a

homemade machine, came to me and my mates one day and asked, ‘If I show you how to do it, will one of you

tattoo my back?’ When I saw his machine, I was interested straight away. I wanted to know how it worked! And that’s

where it all started for me.”

“I made my first machine with a toothbrush and an injection needle,” Shamack tells me. “I was just testing

things out. Of course there was no internet back then, but I was in touch with people who were in jail and they got me

the information I needed. My first tattoo I did on myself, and then I tattooed my cousins. Then once people found

out what I was doing, they started coming to me.” “It was still only something I did as a

hobby though. During the day I worked in my parents’ shop, but after work I’d be drawing, drawing, drawing tattoo

designs all the time. There were no tattoo studios in Poland back then, and obviously no supply companies, so for

anyone who wanted to tattoo, everything was either smuggled in or you had to make it yourself. I didn’t see my first

proper coil machine until I’d been working for nearly eight years!”

I ask Shamack how he ended up tattooing in Blackpool. “I wanted to open a tattoo shop in Poland but it wouldn’t

have been financially viable at that time. Some friends of mine had come to the UK, so that’s why I decided to come

here,” he tells “That was 17 years ago.”

“Originally I was going to open a studio at the back of a hairdressers in Evesham. But I was in Blackpool one day,

rollerblading on the prom, when I noticed a tattoo shop advertising machines for sale, so I went in. They asked if I

was a tattooist and where I worked, and when I told them I didn’t yet have a shop they offered me a job. All I had to

do was tattoo the boss!”

“Working in a street shop in Blackpool, I really had to get good quick,” Shamack continues. “I always tried to give

my customer more than they asked for. Even if I was just doing a name, I’d give it a drop shadow or highlights. And

I introduced flash sets from Milosch and Jack Ribera, so we really started to stand out as a studio. Everyone loved

what I was doing; fine line black and grey was so much more unusual back then.”

“Eventually I stopped doing the walk-in trade because I was getting so busy with my regular customers.” And that

was when something remarkable happened. Realising that Shamack was outgrowing the shop, his boss decided to set

him up in his own private studio. “And then in 2016 I was able to buy the premises from him,” Shamack tells me,

“and I started InkDen.”

‘I REALISED IMMEDIATELY THIS WOULD BE AN EXCITING WAY TO DESIGN TATTOOS.’

InkDen is in a great location, in the shadow of Blackpool Tower. It has expanded over the years and now

occupies several floors of the building. On the ground floor is a beautiful tearoom run by Shamack’s wife Anna, a

space for art exhibitions, and a clothing shop. Upstairs, in addition to the tattoo studio and private tattooing rooms,

there’s also a laser removal clinic. “We’d put a lot of work into creating InkDen,” Shamack tells me, “but Brexit

hit us really hard. Import costs, plus all the red tape, have made it virtually impossible for us to continue to stock all

the cool clothes from Poland and other European countries that we would want to. Most manufacturers in Europe don’t

want to send things to the UK now, because there’s too much expense and aggravation involved. Brexit affected

tattooists as well. I know a lot of really good artists who left the UK because the government were so slow in telling

people what was going to happen, and no one wanted to wait around to find out if they would be safe.”

I ask Shamack if he still enjoys living and working in the UK. “Yes, I love the tattoo scene here,” he tells me. “I go to as

many conventions as I can, and I like visiting tattoo shops too. I always pop in and say hello. Most tattooists here are so

friendly. It’s different in Poland. Tattooing there is still very territorial, and there are lots of shops that aren’t so friendly with

each other. But I think people in Poland definitely seem to work harder!”

And does Shamack still have that interest in the technical side of tattoo machines?

“I’m very glad I built up all that knowledge,” he tells me. “One thing I’m sure of all that time I spent making

machines and setting them up just right was absolutely worth it, because if I see any of my old work that I did all those

years ago (even old tribal) it’s still super black and sharp. But now, of course, with plug-and-play rotaries that work straight

out of the box, I can concentrate more on my art. Instead of focusing on the tool, I can focus on the job that the tool’s doing!”

Shamack’s true passion is for bio-mech tattoos. He has been working in this genre for more than a decade now and

has developed his style to a very high degree. He has always tried to source his own original reference material. “Rather than

using what little I could find online,” he tells me, “I used to go out and buy props to photograph. That had the added

advantage of enabling me to choose how everything was lit, so that all the shadows looked correct. I even built a

little studio in my garden where I could make the ‘sculptures’ that I would photograph to create my tattoo designs.”

But Shamack has now progressed to a new and exciting approach using digital technology. “It was Tofi who first introduced me to the
idea,” he tells me. “I use a programme called Z-Brush, which is a very powerful design and ‘sculpting’ tool.”
“Basically, I create 3D digital models that will eventually become my tattoo designs,” Shamack explains. “Once I’ve created a model,
I light it. I make it dynamic with good contrast and strong shadows. I might introduce colour elements to bring it all to life, then I render
it. Then I print out a two-dimensional image of the model to make the stencil.”
Shamack describes a couple of practical examples to me. “For a recent backpiece, I began by photographing the client’s back and
creating a 3D model of it on the computer. Then I layered on the side panels of the tattoo design and the central spinal feature. When all
the modelling was done, I created a little movie for the client – showing them how the tattoo would be built up, and what to expect.”
“Another client invited me to America to photograph reference for their tattoo. He owns a factory that makes specialist tools. I
photographed lots of the machinery – such as gears and triple chains – and from those photos I created the 3D digital models that
would eventually become his unique, personalised design.” “It’s taken me a while to master this software,” Shamack admits,
“and I found it very difficult at first. But I realised immediately it would be a very exciting way to develop my bio-mechanical tattoos
and offer something special to my clients.” It’s clearly not that straightforward to maintain the 3D appearance of
the design once it becomes a 2D tattoo, but this is an area where Shamack is developing considerable expertise. “Sometimes I will
create a model and light it, and think it’s going to look great, but then it doesn’t look so real… So you need to use various tricks and
techniques to almost fool the eye into reading the image the way you want it to work.” “Black and grey has its limitations of
course, and I am constantly experimenting with different inks to try to get better results. And sometimes you have to simplify an image to make it
tattooable. The 3D models that I create can carry a great deal of detail, but if you actually tattooed all that information
you would end up with a really ‘noisy’ tattoo.” “Using the modelling software, you can combine models in pretty much any way
you want,” Shamack tells me. “Over time, I’ve developed a lot of pre-made elements that I can bring in to create unique and individual designs.”
“There are so many different rendering programmes,” he continues, “and loads of different textures and colours you can
use. You can add lighting from a particular direction, or universal light, and you can change the light to be warm
or white or atmospheric. You can change the reflections and the intensity of paint finishes or even make a surface
transparent. There are so many things you can do. The hard thing is knowing when to stop! It can be overwhelming.”
I ask Shamack if he feels like a pioneer. “It’s just technology,” he says. “Ten years ago I was using Photoshop to put tattoo
designs onto photos of clients’ backs and arms, and they were amazed. Now everyone’s using Procreate. So I don’t
think it will be long before 3D modelling is seen as the norm. You’ll be searching the internet for a rose, say, and you’ll
find 3D models you can light and colour in any way you want.”

Shamack has always been very open-minded and forward-thinking when it comes to technological developments. He
was an early investor in cryptocurrencies, and clearly recognises the potential of NFTS. “For me, digital art, the metaverse,
and the whole idea of augmented reality means great opportunities for sales and investments. I actually had a guy make a
model of my shop in which I can create galleries and even secret rooms for showing limited edition art!” he tells me.
“I definitely think NFTs are the way forward. I am starting to create models for tattoos where instead of my client
paying me for the tattoo, they pay me for the digital model – and I sell it to them as an NFT. So they own the tattoo design
itself, which will hopefully gain in value. They can sell it or license it. The tattoo, they got for free! It’s just a different form
of commerce. That’s another idea that came from Tofi, by the way.” I ask Shamack about his own plans for the future.
“I definitely want to travel more, ” he tells me. “The whole idea of InkDen was that it would be self- contained and able to function without
me. So I might spend some time in America, because bio-mech is such a big thing there.”
“I’d like to be tattooing maybe three or four days a week. If all you do is tattoo, you can only develop so much. I
want to see what’s happening everywhere else. I want to explore so many other things, and bring them into my
tattooing. I believe you need to widen your horizons if you want to push your tattooing to the next level.”
“I could have just stayed in that shop on the prom and made good money tattooing whatever people asked for,
but I wanted to really push the bio-mech style. And I wanted to do it in a way that was unique to me.”
Shamack has certainly done that. And with his enthusiasm for digital technology, he has catapulted himself to the
forefront of contemporary tattooing.
Ink Den Tattoo Studio
53 ff Albert Road Blackpool
FY1 4PW
Tel 07957 021702
inkden.tattoo@gmail.com
@shamacktattoo
TOTAL TATTOO MAGAZINE

Tattoo Conventions

Tue, 28 Oct 2025 22:55:28 GMT

My Way of Working and What to Expect

Each year I travel to different tattoo conventions across the world to meet clients, share ideas, and bring some of my newest projects to life. For me, conventions aren’t just about competition or awards — they’re about connecting with people who share a real passion for art, mechanics, and realism.

Over the years I’ve worked in cities like Brussels, London, Amsterdam, Warsaw, Belfast, Calgary, and Marmaris, and more recently I’ve expanded to the United States , attending events such as the Golden State Tattoo Convention in Los Angeles and guesting at MD Tattoo Studio in Thousand Oaks . Every place has its own atmosphere, but one thing is always the same: I bring the same focus, preparation, and energy I have in my studio.

My Convention Setup

When I work at a convention, I approach it with the same precision as any large-scale studio project. Most of the pieces I create are realism or biomechanical tattoos , often based on 3D concepts that I build in dedicated software before the event. The design process starts a few weeks beforehand, once a client secures their spot.

During the convention, I work in back-to-back sessions , meaning we complete large pieces over consecutive days. This method allows for better flow, consistent healing, and a level of detail that’s hard to achieve when sessions are spaced months apart. Many of my international clients fly in specifically for this — one of my favourite examples is a project with a client from Canada, where we completed a full sleeve and chest in one trip.

How to Book a Convention Tattoo

Booking for conventions works the same way as in the studio. To reserve your space, a design fee is required — this covers the preparation and confirms your session time. The full design process takes place close to the appointment date to keep the concept fresh.

If you’d like to book a tattoo with me at an upcoming convention, you can visit the booking page to fill out a short consultation form. It covers everything from design ideas and placement to travel plans, so I can prepare properly before we meet.

Once your spot is confirmed, I’ll contact you to arrange a call or message exchange to discuss your ideas in more depth. Before the convention, I’ll prepare the 3D concept so that we can finalise the artwork together on the first day.

Why Tattoo Conventions Matter

Tattoo conventions are an incredible experience — not just for artists, but also for clients. You get to see live art, meet creators from all over the world, and be part of a community that keeps evolving every year. For me, it’s also a chance to test new tools and inks from my sponsors: Killer Ink Tattoo , Emalla Official , Tattoo Mousse , and Tattoo Now — brands I trust to deliver professional results and reliable healing.

Where to Find Me Next

I’ll be adding a full list of upcoming conventions and guest spots in another post soon — including events across Europe, the UK, and the USA. Keep an eye on my blog section for updates and new travel dates.

If you’re planning to attend one of these events and want to start your own project with me, reach out early. Convention schedules fill up fast, and I like to give each client enough time to create something that fits them perfectly.

Tattoo conventions attended

Manchester international 2012, 2013,
Tattoo Freeze – Telford 2012.2013, 2014, 2015, 2016
Ink and Iron – Birmingham 2013
Htb Halloween Bash – Cardiff 2013, 2019
Tattoo Jam - Doncaster, UK 2013, 2014,
Amsterdam tattoo Convention -Amsterdam, Netherland 2014
Titanic Tattoo Convention - Belfast, Ireland 2014
Shefield Tattoo Convention- Shefield, UK 2014
Tatcon - Blackpoo UK co-founded and organised by me 2014, 2015,2015,2016
Croydon Tattoo Convention- Croydon, UK 2015
Liverpool Tattoo Convention- Liverpool, UK 2015,2016, 2017, 2018, 2019
Maiden Ink- Derry, Ireland
Cambridge Tattoo Convention- Cambridge, UK 2016
international Nottingham tattoo Convention- Notthingham, UK 2016
The Great British Show- London, UK 2016
Tattoo Art expo- Cork, Ireland 2017
Gdansk Tattoo Konwent- Gdansk, Poland 2017
Warsaw Tattoo Convention- Warsaw, Poland 2017
Wrexham Tattoo Show- Wrexham, UK 2017, 2018
Oporto Tattoo- Oporto, Portugal 2019
II Zamoski konwent Tattoo- Zamosc, Poland 2019
Marmaris Tattoo Festival- Marmaris, Turkey 2022

UKTTA Tattoo Convention- Birmingham 2023

The Big London Tattoo Show- London 2022, 2023

Brussels Tattoo Convention- Brussel, Belgium 2019, 2023

Ink And Engines Fest- Norfolk, UK 2024

The Docks Tattoo Expo- Liverpool, UK 2024, 2025

Paradise Tattoo Gathering- Hancock, USA 2024

Tea Party – Manchester, 2013, 2015, 2016, 2017, 2019, 2022, 2023, 2025

Locked-up Shrewsbury Prison- Shrewsbury, UK 2025

Icons and Prodigies- Venice, Italy 2025

Empire State Tattoo Expo- New York, USA 2025

Golden State Tattoo Expo- California, USA 2025

Calgary Tattoo & Arts Festival- Calgary, Canada 2024, 2025

Longhorn State Tattoo Expo- Dallas, USA 2025

All Starts Tattoo Convention- Miami, USA 2025