Someone wants a name covered. It is eight years old, solid black, four inches across a forearm, and she has sent a photograph of a delicate floral design she would like over it.
The honest answer involves either something considerably larger and darker than she wants, or several laser sessions first. Telling her that kindly, before she books, is the whole job.
When a cover-up works well
It works when the existing piece is lighter than the proposed design, when the new design is larger, when the placement allows flowing shapes, when the client is open about style and when the artist has cover-up experience.
When it does not
It does not work when the existing work is dense black or heavily saturated, when the client wants something delicate or fine line, when the area is small, or when the client will not accept a design that works with what is there.
When lightening first is the right answer
Several laser sessions to fade rather than remove often make a far better cover-up possible. Suggesting it, even though it delays the booking and sends the client elsewhere first, produces a result everyone is happy with.
When removal is what they actually want
Some clients do not want another tattoo at all. Being clear about the difference between covering and removing, and referring to a removal specialist, is honest and earns trust.
What an artist needs to see
Clear photographs in daylight from several angles, the size in centimetres, how old the work is, whether it has been worked over before, skin tone and what the client wants instead.
Publish what your artists will and will not cover
Experience with cover-ups varies enormously between artists in the same studio. Saying who does this work, and pointing to examples, routes the enquiry correctly.
Set expectations about the result
A cover-up is a compromise, and the old design often remains faintly visible in certain light. Saying so before booking prevents a disappointed client and a portfolio piece you cannot show.
Explain the design process
Consultation, photographs, a design produced with the existing work in mind, and that the client cannot simply choose any image. This is the conversation that has to happen before a deposit.
Be honest about size and sessions
Cover-ups are usually bigger, darker and longer than the client imagined. Publishing that plainly filters out people who were never going to be happy.
Charge for the consultation where it is real work
Assessing a cover-up and designing around existing work takes time. A credited consultation fee is fair and signals that this is a considered piece rather than a quick fix.
Capture properly at the enquiry
The same details an artist needs for any custom work, as covered in design consultation enquiries and what artists need.
Vague enquiries stall everywhere
The pattern is in tattoo booking enquiries without a design or size.
Structured intake solves it
It is the same approach as office relocations that need structured intake and an AI receptionist for moving companies.
Getting started
Publish who does cover-up work, what you need to see and what is realistic, then capture photographs and details at any hour. SpideyChat for studios and salons answers from your published pages and never assesses a cover-up. Try SpideyChat on your own site, or read about capture on the features page.