Pro Artist of the month - Sare Usher

Sare Usher is the wonderful tattoo artist behind some of our favourite anime, gaming and all-round nerdy body art, from Baldur's Gate to Pokémon, Studio Ghibli to the Legend of Zelda, and everything in between.

Based at Twisted Chapel studio in Northampton, Sare recently celebrated 10 years of, as she put it, "stabbing ink in to people's dermis until it looks like art" - so who better to kick-off our first Pro Artist of the month feature?!

We spoke to Sare about the importance of colour theory, how to make a welcome studio space, and adapting her tattooing process for different customers.

What inspired you to pursue a career in tattooing and how did you get into it?

So, funny story – I was super resistant to it at first. I used to work in retail and tech and did illustration in my spare time. Everyone would say “you should be a tattoo artist” and I used to get really irked over it – until I tried it!

I had a very unusual (red flag) situation where one of my customers from my day job approached me and offered me an apprenticeship in a tattoo shop they were opening because they'd seen my art online. Little did I know he'd been on a “learn to tattoo in a week” course and had no clue what he was doing. However, it got my foot in the door and I'm too stubborn to give up easily so I ended up at a second shop to do my apprenticeship where I could actually learn something.

It turns out both shops were bad in different ways and sadly I faced an all too common trope of a shop owner abusing their trust and power in both of them. I swiftly say “no thanks” to that behaviour and moved on to a shop with one of my colleagues from the second studio who taught me so much more and with so much more respect.

Did you face any particular challenges when starting out in tattooing, and how did you manage to overcome them?

See above I guess, it's an age old tale. The other biggest hurdle I followed was local competition, before I'd made the amazing connections I have now, I felt pretty alone and was facing online abuse just for existing in this industry. I overcame it by not responding but instead consuming all the hate and nasty comments and turning them in to motivation to prove them wrong. I kept my head down, focused on constantly improving my work and can safely say I don't worry about them one iota now.

Kill 'em with happiness and success I say.

Congratulations on 10 years of tattooing! What are some of the most memorable or meaningful tattoos you've created, and why?

One that always stands out is a mastectomy tattoo for my customer T. It was the first tattoo she came to me for and her humour and strength blew me away. We did a floral piece with some watercolour and she joked about where to put the centre of the flower. I'll never forget that tattoo and I still see T once a year now for her annual “ouchies” as she calls it. It meant so much to me that someone would trust me with such an important tattoo and the trust and friendship that came from it is something I'll value for years.

Who or what has had the biggest influence on your style of tattooing, and how has your style evolved over the years?

That's a tough one because I feel like my “style” is just a big mixing pot of things I've picked up or studied from artists who's work I've admired, my linework is quite new school but my colours are sometimes more realism. I guess I've consistently followed and looked up to Artee Duran, Oash Rodriguez, Lilian Raya, Simon K Bell and Kristina Darmaeva. My current inspirations stylistically are “Green Vesper”, Brooke Borden “sketchbrooke”,  Deanna James (deannaart), Raigen Curtis “pewpewraygun” and “uncledefy”.

Can you tell us about the other artists in your studio?

I certainly can! I work with an amazing team of female artists:

Kim (@twistedchapel) - shop owner and black and grey extraordinaire. Kim and I have been friends for a long time. She reached out to me when I was struggling at the start of my career and taught me the most valuable lesson of “community over competition”. We went on to create an online network and support system for other female artists that we ran for a good few years and even worked conventions together before we worked in the same shop. I'll never forget the kindness Kim showed me back then, despite the majority of tattoo artists seeing each other as competition/a threat, and forever wish to pay it forward to anyone else who needs support or just a friend in tattooing. Obviously this translates to being a shop owner as she runs the studio with compassion and incredible amounts of support . Also, she just happens to be an insanely clever and talented artist whose main focus is black and grey realism.

Molly (@mollymootattoo) - our flash wizard. This woman's creativity is so inspiring, every time we have chats about designs and art I feel inspired – it's contagious. Molly is so passionate about tattooing and has such a deep love for the craft. It's been amazing to see her making stylistic choices confidently that are ensuring her work has that “je ne sais quoi” and independent stamp on it. Her coolness and personal style put me to shame and this really translates to her tattoos – I can spot a Molly piece instantly now. So cool. Very kind. Much talent.

Kendyll (@kendylldoestattoos) – We actually worked together under different circumstances in a previous studio where Kendyll was the studio manager. She ran a tattoo shop with 7 artists in there for years and I've never met anyone that works so hard. Once she was given an apprenticeship opportunity this hard work smoothly transitioned into her tattooing journey and to see her progress has made me feel so much pride. Kendyll radiates gold – her whole presence is warming and considerate and I'm so happy to be working alongside her again and to see her work flourish even more. Watch this one – she's got some serious waves to make.

How important is working in a studio where artists get on so well together both in and out of work?

So, so, so, very, incredibly important. As someone who won't stay anywhere that I don't feel welcome, I can say with confidence that this is a rarity you must treasure. Absolutely nothing beats the feeling of turning up to work knowing you'll be advocated for, that your boundaries are respected and that everyone else in the shop is also passionate about growing as an artist. When you work in the right environment, your work will improve tenfold because you can focus on what's important and have the right surroundings to flourish.

How do you ensure that your studio is as welcoming as possible?

First thing's first – do you want a hot drink? We have tea, fruit teas, coffee, hot chocolate. I think the main thing that makes people feel comfortable is that we all respect our clients/customers and actually want them to have the nicest experience possible. We offer ear plugs for anyone who'd like to drown out the sounds a bit or prefers it quieter. Most of us have previous customer service or hospitality experience. We have a separate room that can be used for tattoos that require privacy. We are all very patient and understanding if you need a break, some sugar or just to stretch because you're not feeling as comfortable. We also offer free consultations if anyone wants to come have a chat about their tattoo or appointment to make them feel more at ease. The more relaxed a customer is – the easier our job is.

Can you share your process for working with clients, from the initial consultation to the finished piece?

So, I take all my enquiries through a carefully put together form that ensures I get all of the essential details to work out how long it will take me to create your tattoo. It includes size estimation, placement, reference pictures and some personal info so I can contact you back. From this, I'd say nine times out of 10, I can get a quote for you and let you know how much of your time I think I'll need (if it's a sleeve or large ongoing work I usually just offer to start with a half or full day) sometimes I need to get a bit more information and other times I'll suggest a consultation.

Once I know how much and how long, I send a link to you that lets you choose a date and time in my diary, takes the deposit payment and has “Pre Tattoo Info” we require you to read and agree to when confirming the booking.

From there, I tend to work about a week ahead of my designs and do them all in order to keep some grasp on my remaining sanity. I know it's common place to show designs on the day now but I prefer to send a sketch or rough concept out about a week before to make sure I'm seeing the same sort of vision as you and I'm on the right tracks. Once any amendments have been made, I then crack on with outlining and colour mapping the design and have it ready to show the final piece at the appointment. I find this way I can ensure there are no large or time-consuming adjustments that need to be made last minute and you, the customer, get to see an initial version which I personally find reassuring. Colour can always be adjusted on the day, up until the point I pour them out.

When you arrive on the day, I'll get you a beverage and have a little check in with you before we start the process. First up is the stencil, we hang out in reception while I get the size right then off to the tattoo room to apply it! We have multiple mirrors for you to check the stencil out in and I always ask you to have a move around in the mirror and take pics because I want you to be confident and sure on the positioning before we begin. As we always say “it's on you forever” so you might as well make sure it's where you want it to be.

Tattoo time! I wait five or 10 minutes while the stencil dries and usually use this time to pour out my inks and check the colour palette with you. Once it's dry, it's time to start the outline and any stencil marks I need to keep (sometimes with realism or complicated designs, I'll use a light grey to line parts I don't want to lose guidelines for. It heals so light it's barely visible) then shading and colour! I encourage little stretch and hydration breaks when needed. I strongly believe people sit better when their nervous system isn't firing on all cylinders so if I can see you're struggling to stay still, I will always recommend a few minutes to stretch, walk it off and reset. If we are on a full day session, then we stop for lunch to make sure you're blood sugars are good and you've got some good carbs in you to help through the last half of the day. Full colour can be very intense on the body, so I'll check in throughout the process to see if you need anything.

Once we've done the tattoo, I spray it with some soothing spray and let it settle for five or ten minutes before taking photos and videos. While we're giving it a chance to “leak out” before the photos, I go over aftercare methods, any questions you may have and the importance of caring for your new tattoo over the next few weeks. Then you get a gold star, I take your money and give you a friendly goodbye. However, the service stops when the tattoo is healed, not when you leave the shop. I am on hand as much as I can be for aftercare questions and advice.

How important is understanding colour theory to create your tattoos?

I believe colour theory is essential as an artist, let alone in tattooing. It's one of the most valuable things you can learn. Knowing which colours complement each other, how different colours can evoke different emotions or symbolise different things and understanding how colours appear in relation to other colours is so important if you want to elevate your work. I will talk about colour theory to anyone at any time.

How do you adapt your tattooing process when working on different skin tones, textures, or body areas?

Every person's skin has so many variables, and I think a big flaw in tattooing is getting hung up on exact numbers to run your machine at. It's good to have a general idea of the range your machine works at for what you want to do but you have to adjust it to work on different types and areas of skin. If I'm working on a delicate area, older or highly melanated skin then I run my machine lower to avoid scarring or unnecessary damage to the skin.

In regards to colours, everyone has a different undertone to their skin and sometimes you need to adjust your colours so that they heal the correct tone. So, we all fall in to warm, neutral or cool tones. Little tip: you can check skin tone by looking at the veins on your wrist, it works better when you are warm. If they appear greenish, you likely have warm tones; if they appear blue or purple, you likely have cool tones; if they are a mixture, you likely have neutral tones. Because tattoos heal underneath the epidermis (the top layer of skin), it acts like a filter of sorts that sits on top of the ink and approaching it this way has helped me understand it a lot more.

What advice would you give to someone looking to get their first tattoo or those considering a career in tattooing?

To both I would say – choose your artist/mentor wisely. The benefit of an over saturated industry is that you now have even more power of choice.

If you are looking to get your first tattoo – don't worry so much about someone who has previously done the subject matter you want. Instead, go about finding someone who's work and style you like, regardless of the subject matter. Look at lots of examples of their work and look for healed examples of their work (this is way more important than how they look fresh).

If you are looking for an apprenticeship – do exactly the same. But also go in to the shop and get tattooed by them, ask questions about their work and if they will have any advice. Remember you are choosing them just as much as they are choosing you. The wrong mentor will only set you further back and there are still people out there that are looking to exploit you. If you find someone but they aren't in the position to take on an apprentice then ask them if they will give you advice on your portfolio. In regards to your portfolio, make it varied, use digital art if you have to but traditional art will stand out more in my opinion. Create designs that you would want to get tattooed yourself and one's that are generic but technically your best.

What are your go-to tattoo brands and products that we can find in and around your workstation?

Radiant Inks are my go-to colours and Butterluxe is my favourite process butter.

What aftercare method do you recommend to your clients, and do you have any secret tips that you can share?

Honestly, my favourite aftercare method I've learnt about is “puppy pads”, especially for full colour because they just soak up all the stuff your skin is going to spit out. They can be used for the whole healing journey (similarly to cling film method – wash, dry, recover 2 or 3 times a day) or can be switched out for cling film after the first few hours. Second skin is amazing, but not everyone gets on with it, so I like to offer two methods.  

For advice, IT IS AN OPEN WOUND and should be treated as such – you need to protect it from being knocked, irritated or anything getting in to it, especially in the first few days. It's on your forever, whatever activity you wanted to do isn't.

What are your favourites hobbies outside of tattooing?

Video games, in case that wasn't obvious. But, when I'm not rotting like a goblin in front of a screen I also like to play D&D as a player and also as a Dungeon Master. Painting is one of my favourite ever things to do and for physical activities I do ariel sports (hoop and pole) and dance (ballroom and Latin). Forever the kid taking extra subjects.

We know you love gaming, but what are you currently playing and what is your favourite videogame of all-time?

This is by far the hardest question. I'll give you my top five because I can't choose – The Legend of Zelda: The Minish Cap, Skyrim, Baldur’s Gate 3, Minecraft and Pokémon Yellow. Honourable mentions to Borderlands 2, Phasmophobia and Stardew Valley.

I heard Glenn has really good taste in video games too…

How do you choose or mix ink shades to match a character’s colour palette?

Let's use Stitch from Lilo & Stitch as an example – he's blue, but he's not your normal go-to vivid blue. So, next thing I'd work out is if it's a cool or warm blue. He's closer to purple than green so it's a cool tone blue. Next up is saturation, his main colour doesn't have a high chroma (saturation) value so the blue will need to be desaturated and finally the tonal value (dark or light) is a medium-light I'd say. Now, as long as we don't have any coloured light sources involved, we are looking for a desaturated, cool leaning blue. I'd say periwinkle is a good place to start and you can reduce the chroma by adding some drops of orange or increase it with a blue concentrate.

What music is usually playing in your headphones or in the studio while you’re tattooing?

I wouldn't subject anyone to listening to my music all day and I don't wear headphones while I work but if I did it would be a mixture of Hozier, Chappell Roan, Vivaldi and nostalgic emo bangers.

Would you be interested in doing collaboration tattoos, and if so, with which artists?

100%!! Myself and Kim at Twisted Chapel have been saying we need to do a collab for ages. I'd be up for one with so many artists – if anyone is reading this and wants to do a piece together, hit me up and we'll see if we can make it work! Community over competition <3

What conventions have you got lined up for 2025?

So far just one – UK Tattoo Fest in Milton Keynes in March.

What is next for Sare Usher and Twisted Chapel?

Whatever the road ahead brings! I'd like to get some guest spots in this year and maybe one or two more conventions. I've also been considering studying at university (I'd still be tattooing alongside it!) as I love learning, but I also love having enough time for my hobbies for now.

A massive thank you to Sare Usher for not only answering all of our questions but in such depth too! Make sure to check out her work on Instagram at @sareushtattoos and here's to another 10 years of geeky gaming goodness.