Workflow guide / 01
A clean stencil starts with a reference you can interpret. Preserve the shapes that matter at the intended tattoo size, then inspect a transfer before the appointment moves forward.
Editing cannot restore a blurred edge, a missing angle, or a detail hidden in shadow. If an important part is unclear, ask for a better reference before spending time on filters.
Ask for the original image rather than a compressed screenshot or social-media crop. Check focus on the subject, even lighting, an angle that shows its form, and enough resolution to inspect edges without enlarging into blocks. If a feature is hidden, ask for an extra view.
Look for hard shadows, reflections, colored light, motion blur, and a background that merges with the outline. Confirm which elements from a collage belong in the final design. Keep the supplied image unchanged so you can compare every edit with its source.
Duplicate the image and crop only what sits outside the design. Rotate it upright. Correct perspective only when you can preserve proportions; for a curved or foreshortened object, confirm the shape rather than flattening it by guesswork. Keep a clean original available.
Convert to grayscale if that helps reveal tonal separation. Adjust levels gradually to distinguish subject from background without turning soft transitions solid black or deleting pale details. If repeated filters break up edges, return to the original and choose a more selective correction.
Separate photo cleanup from stencil drawing when your software allows it. Mark the contours and overlaps that describe the design, then remove background specks and stray marks. An automatic edge filter can suggest lines, but inspect it: it may trace texture, merge nearby shapes, or miss a low-contrast boundary.
Do not treat every pixel edge as intended linework. Keep the shapes the artist needs to place and interpret, and leave optional textures for discussion when they do not reproduce cleanly.
Use line weight to establish hierarchy rather than darkening everything. Primary contours should read first. Keep secondary folds, scales, or texture only when they remain distinct at the planned dimensions; simplify marks that crowd together. Repair accidental double contours and broken joins, then check that important openings remain open.
Set width and height to the size being discussed. Compare the artwork with the intended body area, including curves, joints, and changes in surface direction. Confirm margins and the placement of focal details. Mirror only when the transfer process requires it, then recheck lettering and asymmetry.
Print with the stencil paper and printer setup planned for the work. Inspect the transfer for faint strokes, filled gaps, stray marks, and changes in scale. If a detail disappears at actual size, enlarge, simplify, or remove it, then check the revised result.
Save the source, cleaned working file, and final-size export separately. Confirm the cleaned design with the client and review the transfer before placement. A stencil is a working guide; the artist still makes the final linework decisions.
