Category Issues

Point 73: BMXnet – Nicole Holmes

Comments Off on Point 73: BMXnet – Nicole Holmes read Conference, International, Issue 73

Nicole Holmes
Blue Lotus Piercing, APP Member*

September 3 through 6 of this year, I was fortunate enough to attend my fourth BMX Conference, which was held in the small but beautiful city of Essen, Germany. The conference was coordinated by the charismatic Stefan Schomowski and his team of trusted helpers and volunteers. As much as I always enjoy this conference, I must admit that just visiting Essen is lovely too: scattered city water fountains, the shopping district, and great food. It is honestly the highlight of my piercing year. Each year I arrive earlier and leave a little later.

The venue for BMX is partly the reason I return year after year; the Unperfekthaus is truly a spectacle to behold. As an artist’s village nestled within the city, it really doesn’t disappoint. It is such an inspiration to sit for lunch, walk the corridors, or climb the stairs. Every wall is hand painted, covered in collage, or decorated with a sculpture of sorts. When this venue is full (on registration day, capacity is reached long before breakfast) the atmosphere becomes energized. With so many like-minded people gathering from around the world, BMX embodies a special sense of purpose and community.

I remember my first BMX in 2012. I didn’t know anyone there personally. I was sitting outside alone having coffee at the ungodly hour of 8:00am just because I was excited. The first person that sat by me grew to be the first of many conference friends. Each year BMX expands and there are new faces, new friends to be had. I find it so easy to talk to people during the event. This is another reason I keep attending.

I have attended many seminars, day events, and conventions, but none compare to BMX. There are no similar conferences or events where I live in the North of England. My last large scale, piercing specific event was the 2002 APP Conference & Exposition in Amsterdam. However, 2002 was more than a decade ago and so much has changed. There has been so much grown in the industry since then, I feel a comparison would be irrelevant.

What I can say with certainty is that BMX is not like anything I could have imagined. This year marked the 9th annual conference and it really demonstrated the team’s experience. From the smooth running operation of things to the flow from class to class, the grouping of the lectures was natural and it never felt rushed. Although I feel there was never enough time to visit the expo to do some shopping!

Classes covered topics such as hygiene in the studio, creating sacred space, earlobe reconstruction, and magnet removal. BMX is as it always has been, an umbrella of many topics, not solely piercing based subjects. Tattooing and other modifications are also covered. Many attendees expressed their fondness for this scope of subjects.

I personally feel I absorbed the most this year from the roundtables. These communal discussions based on topics such as “Ethics” led by Samppa Von Cyborg, covering the delicate issue of recording and posting video clips on the internet when you may unwittingly represent the whole industry. In another of this year’s fascinating roundtables, titled “Implantable Technology,” Tim Cannon brought his prototype silicone implant containing LED lights capable of being switched on and off by the users already-implanted magnet. There were even some attendees who were so passionate about the topics that they were willing to hold roundtables at all hours of the day or night. That is a perfect example of the freeform and flexible nature that is BMX.

After classes on both Friday and Saturday, there were striking and eclectic shows from Coco, Superfly, Squid O, and Pain Solution which enchanted the late night crowd with a manifestation of freakshow/sideshow entertainment. This was followed by the annual prize draw raffle.

Overall the whole adventure of BMX was undeniably a special triumph of our industry and community. After discussing this year’s efforts with many other attendees, both new and old, I feel the response was very heartwarming. Everyone that learned and loved at BMX promised to return the following year, myself included.

*Nicole Holmes is one of the newest APP Members in the UK.

Point 73: UKAPP, A Prelude – Ryan Ouellette

Comments Off on Point 73: UKAPP, A Prelude – Ryan Ouellette read Conference, International, Issue 73

RyanOuelletteRyan Ouellette
Precision Body Arts

In September of 2015 I traveled to Birmingham, England for the first seminars of the newly formed United Kingdom Association of Professional Piercers (UKAPP). When I got home and sat down to write about my experience I found myself thinking more about wider-reaching industry issues which affect not only the UK, but Europe as a whole. My intention was to give a little perspective as to why there are so few APP Members overseas compared here in North America. Once I started I discovered there was much more to the issue than I could properly cover in a single article, so I have decided to make this a two part piece. Hopefully it will give you an idea of the challenges European piercers face if they want to meet APP membership standards, and in turn hopefully it will show you just how impressive and hard working this group of piercers is.

I travel, what many would consider, a fair amount for a full time piercer. Not as much as some, but much more than others. I try to do as much of that travel outside of my home country (the United States) as possible. I like to see new countries and cities, and while I’m travelling I like to meet other piercers and learn how they practice our craft in their respective areas. When I meet piercers from Europe the conversation always ends up being about the APP. I hear quite a few issues voiced when the topic comes up, not necessarily with the organization, but more so in how our Members talk about other regions or parts of the world being “behind” when it comes to piercing. There is the perception that APP Members imply a piercer who does not use the best jewelry available is being unprofessional. I myself have even made the mistake of assuming “good piercing” is all about the jewelry. Now in an era of social media, these perceptions are more important than ever. Anyone can get nice jewelry, install it in a new or healed piercing, and take a picture. That does not make them a good piercer, or a true professional. In my opinion the sign of a professional is continuing to learn and evolve and to strive to give our clients the best work possible. That doesn’t mean you start out doing exactly what you want. For most piercers it is a struggle and you are constantly working towards a goal that, in turn as you progress, changes over time.

I have met piercers in almost a dozen different countries around the world and I see the same challenges that piercers in the US face: “my customers won’t pay X for good quality jewelry”, “my boss won’t invest in quality”, “there are no educational opportunities in my area”. These are all obstacles that a piercer can overcome with time, persistence, education, and a flexible budget. However, there is another aspect that I think US piercers take for granted: access to supplies. In the European Union (EU) and the United Kingdom (UK), piercers have an additional challenge. As an example, if you want to order Neometal, Anatometal, BVLA, or most other US made jewelry, not only do you have to deal with long wait times, but also increased shipping costs, delays with customs, and substantial import taxes. Canadian and Latin American piercers face these challenges as well, but to a lesser extent, due to their proximity to where most high end piercing supplies are manufactured. In England, if a piercer orders jewelry they have to pay approximately 20% extra to import it into their country, and that is on top of already significant international shipping costs. Imagine waiting even longer and paying even more. How many US piercers, barely keeping internally threaded and threadless jewelry in stock, would implode at that added challenge? There are almost no native companies manufacturing body jewelry in the EU or the UK at this time. Many have moved production to Asia to lessen costs. Those companies left manufacturing in the EU and UK offer little to no internally threaded jewelry, hand polishing, or products made from materials the Association of Professional Piercers would classify as acceptable for initial piercing.

Needles are another obstacle. How many American piercers are aware of the differences between “blade needles” or “cannulas”? There is a simple reason why; you would never need to. Any American piercer can buy needles made specifically for body piercing, in varying qualities. Again, in the EU and UK there is little to no access to what we would consider “piercing needles” without importing them. In most of Europe there are fewer restrictions on medical devices so it is very common for piercers to use medical catheter needles and biopsy punches to perform body piercings. They call what American piercers use a “blade” needle to distinguish it from the more common cannula needles they are using. Since they don’t have the same access to blade needles many of their techniques are built on a foundation of using the cannula sheath for jewelry transfers. If you are unfamiliar with a cannula it is a plastic sheath covering the needle that can slide off and be used as a catheter. If you have had IV fluids in your arm or hand at the hospital. That little tube going into your vein or artery is a cannula. The application is to pierce through the tissue, once the needle and sheath exit you can slide out the needle leaving the cannula in place. You can then insert jewelry (internal or external) into the sheath and back it through the piercing. In theory this covers external threading during insertion so many European and British piercers see it as negating the risk of using external threading. Whether is does or does not could be another whole article.¹

I hope by now you can see where the different mindsets come from between US and Europe counterparts. Imagine all those obstacles, and a piercer without those obstacles calling you lazy or sloppy because you do not have the means to overcome said obstacles. It would be frustrating, it might even make you apprehensive to strive to reach the goals that same piercer holds as being a minimum standard. One of the most common complaints I hear about the APP is that membership is geared almost entirely to piercers in the United States. While it is true that the vast majority of APP Members are operating in the US, I have met APP Members all over the world: Sweden, Norway, Denmark, Mexico, England, and more. If APP membership is not an easy goal to achieve in a specific region, another option to improve standards is to create a local organization such as the APTPI (Italy), LBP (Mexico, Central, and South America) and the newly formed UKAPP. The point of these other organizations is not to have lower standards, but to have standards geared towards their specific region. For instance, if jewelry concerns are not the main obstacle, the organization can instead focus on other safety issues such as sterilization, studio layout, and training.

Every Fall I travel to Essen, Germany to teach seminars at the BMXnet (Body Modification Exchange Network) Conference. I’ve met some fantastic piercers from all over Europe there. At the 2014 event I spent quite a while talking with a British piercer named Nici Holmes. We talked about many of the points mentioned above. Specifically, we discussed how it is very challenging to be a piercer who wants to offer quality, especially when the items that go into a “quality” piercing need to be imported from another continent. We talked about how many of the best piercers in the UK could not meet membership standards set forth by the Association of Professional Piercers. One of the concerns she voiced: most, if not all, of the jewelry that meets APP standard is based on ASTM material standards, which has led to some confusion as it previously stood for the AMERICAN Society for Testing and Materials.² The APP jewelry standards were revised in 2009 and currently include both ASTM and ISO designations. Much of Europe is moving away from allowing steel as an acceptable material for body jewelry due to nickel content, but at the same time Europe widely allows the use of G23 grade titanium, which is an industrial grade, rather than an implant grade material. G23 Ti has been used as an alternative to nickel containing alloys and its safety has not been addressed, as regulations focused on eliminating nickel as an allergen, not on validation of a material for safe healing and prolonged wear.

Nici talked about how she wanted to start a dialog with other British, Irish, and Scottish piercers to try to form a new group. At first I thought the intention was just to have some casual meetings and discuss industry issues. Apparently the idea caught on and soon after, with the help of a crowdfunding campaign, there was a new nonprofit formed to focus on safe body piercing in the United Kingdom. One of their first acts was to host a central meet. In the next issue of The Point I plan to elaborate on what was accomplished at their first meeting.

¹The plastic sheath is easily damaged which in turn can damage tissue. Also, the blade length is significantly shorter, limiting or preventing many of the bevel theories modern freehand piercers are so fond of.
²The ASTM has focused on international trade since the 1970’s. In 2001 it was rebranded as ASTM International, and is used globally in more than 140 countries.

Point 73: LBP Update – Jef Saunders

1 Comment read Conference, International, Issue 73

Jef Saunder headshotJef Saunders
Membership Liaison

The LBP—Asociación Latinoamericana de Body Piercing AC (Latin American Association of Body Piercing) Conference was held in Tlaxcala, Mexico at the Trinity Vacation Center from November 2-6, 2015. This is the third annual official LBP Conference, and the second I was lucky enough to participate in.

The LBP Conference has a special magic air that surrounds it. While it is officially a Spanish speaking conference, piercers from around the globe were in attendance. The remote location of the facility means that most attendees and speakers arrive via buses provided by the LBP. These bus rides are wonderful, which feels weird to say, but the whole trip from Mexico City to the vacation center is a wonderful bonding experience. My experiences vary from practicing my classes to thoughtful discussions, even sing-alongs to ‘80s songs. It fosters a wonderful sense of community amongst the speakers and attendees.

In terms of setting, this year’s LBP was spectacular. The Trinity Vacation Center is a wonderful facility, with brick walls and a stunning view of the volcanic mountains surrounding it. The combination of the remote location, climate (warm days and chilly nights), mountain air and the time of year (Día de Muertos) made for a unique experience that I believe all the attendees enjoyed.

Classes were held throughout the week, and were located in two classrooms connected by a courtyard with a Day of the Dead altar at the center.The Point Issue 73 - LBP Asociacion Latinoamericana de Body Piercing AC

This year I was thrilled to present two separate classes: “Disposable Piercing Studios” and “Navel Piercing: Advanced Fundamentals”. My Spanish is very limited (although the full immersion allowed me to follow along with many conversations, even if I didn’t have the means to contribute in Spanish) so I was fortunate to have translators assist me.

“Disposable Piercing Studios” was co-instructed by Oscar Sandoval, who speaks fluent Spanish and added quite a bit to the presentation. I also had the assistance of Ruben Lew and Jesus “Sala” Cabanas. These two have several projects in the works geared toward Spanish speaking piercers, and I am looking forward to what they have planned.

In my “Navel Piercing: Advanced Fundamentals” class I was joined by Ana Paula Escalante; she seems to be effortlessly everywhere, always helping with everything ensuring a great LBP Conference. There were seemingly endless choices of classes to choose from, but the conference still felt tightly curated. There were presentations by Bethrah Szumski, Autumn Swisher, Nick Wolak, Mauricio Torres, Javier Fingazz, Jesus “Sala” Cabanas, Ruben Lew, Danny Yerna, Luis Garcia, Didier Suarez, Erika Gomez, Oscar Sandoval, Eduardo Chavarria, Ryan Ouellette, Alejandro Hernandez, Ana Paula Escalante and Matias “Rata” Tafel.

I think when one attends a new conference of this type, they can be tempted to draw comparisons and contrasts to familiar events they have attended. What I think is a more honest approach to evaluating any conference is to judge it on its own merits and those alone. The LBP Conference is truly wonderful. The quality of classes are superb. The facility is wonderful, and the people make this experience extra special. The LBP Conference either intentionally or as a happy accident fosters deep friendships amongst piercers who may have otherwise never met. I can’t say enough positive things about the excellent job the LBP Board of Directors and their volunteers do. I hope to be a part of LBP Conferences for many years to come, and I look forward to seeing so many LBP attendees at the APP Conference next year.The Point Issue 73 - LBP group selfie

Point 73: Ohio Legislation Update – Patrick McCarthy

Comments Off on Point 73: Ohio Legislation Update – Patrick McCarthy read Issue 73, Legislation

Patrick McCarthy*
Piercology, Inc., Body Art Solutions

For the last three years, the state of Ohio has been rewriting its body art Rules and Regulations. Beginning in 2013, a number of body modification professionals, health inspectors, medical professionals, legal professionals, Ohio Department of Professional Personnel and more, set out with the purpose of reworking the outdated rules that had been put in place 18 years ago. The Association of Body Art Professionals was formed for the state of Ohio to take on this task. The association had piercers and tattoo artists from the four corners of the state, many of which were fellow APP Members.

Many people don’t realize that when you are dealing with the government and government agencies, you are dealing with two separate things: rules and regulations, and laws. These are two totally different animals. Laws are far more difficult to change and are usually written to be intentionally vague. Revisions or additions to laws must go through the House and Senate in the state and must be signed by the governor. Rules and regulations go into great detail and are usually written by a committee. Laws are set for the state level. However, most states allow local health departments and municipalities to go above the state’s laws in the rules and regulation procedures. For this reason, it is so important to understand what your local municipality requires, because many people, including public officials, don’t realize the significant difference in laws and rules and regulations. We have the issue of travelling artists being allowed to practice their craft in different states. It is like this in most states, however, some states do things a little differently. So make sure you understand how things work in your state, and any states that you may visit while working.

Going back 18 years, Ohio had some of the best body art laws in the nation, with matching rules and regulations. Because of this, many states set up their laws similarly to Ohio. I was fortunate enough to be involved in writing the laws way back then, and this made it a little easier to get involved in the changes this time. Due to the fact that they were previously so well written, the Ohio Department of Health (ODH) pretty much left the rules and regulations alone until 2 years ago. Unfortunately, due to the lack of evolution, the rules and regulations had become outdated.

Overhauling the antiquated laws and rules and regulations to reflect the incredible amount of advancement in our industry over that 18 year period was no easy task. Our committee met, on average, once or twice a month, for nine months going over all of the changes that needed to take place. During these meetings, we were able to address many changes that had occurred in our industry.

When originally written, it was stated that studios had to sterilize their own tools. In response to the evolution of pre-sterilized, disposable tools, we added the “Pre-Sterile” law, allowing artists in this state to use presterilized items. Up until this point, an artist was breaking the law if they used pre-sterilized tools. Most states have requirements that rules and regulations be looked at every few years so things like this don’t happen. But, as we all know, if things are working well they never get changed. So I urge each of you to make sure your state stays current with the progress happening in our industry.

The rules and regulations were written with extensive depth and specifications regarding things like quality of jewelry, detailed instruction on how to sterilize instruments, aseptic techniques for set-up and teardown, and even how documentation had to be kept. To ensure that the health inspectors in the state of Ohio were properly trained on the new changes that had taken place, we held back the roll out of the new rules and regulations for six months and offered training to them regarding all of the changes. These training classes were not only open to health inspectors, but also to people in the body art industry, free of charge. This was done so that they could learn how the changes in rules and regulations would affect their studios and to help them understand what changes needed to be implemented.

We taught ten classes throughout the state over a 6 week period with over three hundred health inspectors in attendance. These classes went into great detail regarding instruction for inspectors. We covered topics such as correct procedures for disinfecting and sterilizing, proper aseptic technique for both tattooing and piercing, what to look for in an exposure control plan, and what works and doesn’t work regarding aftercare. Information on industry standards tats was also discussed. We stressed the importance of inspectors observing procedures within the studios to ensure that artists know what they are doing.

The classes were quite successful and the participants enjoyed the opportunity to be in an interactive environment where they could ask questions. These were the first classes that had been offered to them strictly covering body art in the state of Ohio. We learned that making comparisons to the food industry allowed the inspectors to better comprehend the information being taught from that industry to ours. We were asked to record a final class session in a sound studio using the PowerPoint presentation. This prerecorded session is now used for training new inspectors. We were also invited to teach classes for inspectors at four conferences across the state.

I have maintained a great working relationship with ODH over the last 19 years of working with them. It is important to remember a few things when building and maintaining a working relationship with health departments and inspectors. As much as you may not like it, we are in their world, so dress accordingly. One of the biggest mistakes I’ve seen over the years, and why many in our industry don’t have a working relationship with their public departments, is the simple fact that they don’t dress up. Don’t expect to be seen as a professional if you show up to a meeting dressed in jeans and a tshirt. Also, don’t talk down to them; treat them as a peer. Health inspectors are just there to do their job and keep the public safe, so if they don’t understand everything in our profession, take the time to educate them. I think you will find that most inspectors welcome any knowledge you can offer them.

Most states have conferences to teach inspectors, and they are always looking for new classes. So feel free to ask your health departments if you might be able to help out and teach a class for them.

*Editor’s Note: Pat was also the APP’s first elected president.

Point 73: Initial Piercing Jewelry: An American Timeline – Matte Erickson

Comments Off on Point 73: Initial Piercing Jewelry: An American Timeline – Matte Erickson read Industry History, Issue 73

Matte Erickson headshotMatte Erickson
Alpha-Omega Body Piercing

In the beginning, there was one main manufacturer: Gauntlet. Originally, gold was the predominant material for jewelry used for initial body piercings. According to Jim Ward (Running the Gauntlet, pg. 35), “There was an interest in stainless steel as a material for piercing jewelry”, but due to his lack of knowledge or experience with it “every piece was either gold or silver”. Many people used standard earrings, but the sizes were limited. These were primarily ring styles—captive bead and fixed bead. There were other individuals making specialty jewelry, but acquiring a piece required knowing someone. The first jewelry catalogue from the Gauntlet is dated August 15, 1976 and includes many styles of jewelry we still see in use today such as the aforementioned bead ring. In fact the currently popular septum retainer was also a Gauntlet innovation.

In its early days, Gauntlet had one short-lived competitor called Whatever Rings. It was run by a gay couple who were heavy S/M players. They operated out of their West Hollywood apartment and sought business through ads placed in the local gay press and Drummer Magazine, a gay BDSM publication. Their jewelry consisted solely of gold abutted rings with no closure. At the time Gauntlet began business in 1975, the only stainless steel jewelry manufacturer of note was Spain’s Custom in Lawton, Oklahoma. It was the jewelry favored by early pioneer Sailor Sid. Although the quality was acceptable, at least by the standards of the time, some objected to the stiffness of the unannealed rings and chose not to offer these products to their customers. Spain’s barbells were also externally threaded. Spain’s Custom advertised in PFIQ until the time Gauntlet began manufacturing and offering stainless steel jewelry of its own in the early 1980s.

Ray Spain, the owner of Spain’s Custom, suffered from back problems which eventually became so severe that he was forced to close his business. Sailor Sid purchased the equipment and began manufacturing jewelry under the name Silver Anchor.

gauntlet large guage curved barbell

The internally threaded barbell is credited to Tattoo Samy from Frankfurt, Germany—early barbells had no countersink. Over the years, Jim Ward expanded on this, not only manufacturing straight, but also curved and circular barbells. Other companies came and went in the beginning, but Gauntlet remained the staple for many years.

The ‘80s and ‘90s saw a rapid influx of jewelry manufacturers. According to Shawn Porter (SPC, BME), the ‘80s spawned companies like Pleasurable Piercing, Toucan (for gold), Wildcat in the UK, and Silver Anchor (formerly Spain’s Custom).

In the late ‘80s, John Donoghue founded Wildcat, a wholesale manufacturer out of Brighton, UK. During the ‘90s they were the largest supplier of body piercing jewelry in Europe.

In 1990, Josh Warner also brought us Good Art and their whimsical, sometimes over the top advertising. In 2002, they rolled out what was to be their fine jewelry line. By 2005, they rebranded themselves as Good Art HLYWD and ceased production of body jewelry.The Point Issue 73 - Jewelry Catalogs of the Past

Some of the manufacturers originating in the ‘90s have become staples for current piercings today. In 1991, Anatometal, Body Circle, and Industrial Strength were founded. 1991 also brought about “implant grade” materials from Anatometal and Industrial Strength, as well as countersunk ends on barbells.

Unfortunately, the ‘90s also brought us a proliferation of body jewelry from Asia and the birth of the “cheap piercing”.

In 1993 Venus by Maria Tash was brought into the mix. Originally only making steel and niobium captives, she moved on to gold designs in 1994.

In 1995 LeRoi opened its doors in upstate New York and Body Vision Los Angeles in, of course, Los Angeles, California.

1997 brought us two companies, Intrinsic Precision and NeoMetal. Intrinsic was opened in San Francisco, California and has been the sleeper of the body jewelry world. Putting out high quality jewelry, they have flown under the radar until recently. Now they are sought after with a long list of piercers waiting for the opportunity to buy their products. NeoMetal, a small company from Concord, California, created something that would eventually stand the piercing community on its proverbial ear: threadless jewelry. In February 2004 they moved to Washington and the threadless movement continued to grow and thrive.

In 1998 Glasswear Studios opened in Ashland, Oregon offering high quality glass jewelry.

1999 brought us Steel Skin, fusing implant grade steel and titanium with dental acrylic ends. In February 2007 Steel Skin was sold and moved to Louisville, Kentucky. They eventually closed in 2010.

In 2002 Gorilla Glass opened in Oaxaca, Mexico fusing traditional and modern designs in glass and obsidian.

While this is by no means a complete timeline of body jewelry manufacturers, it does however highlight, in my opinion, the top (American) companies that made significant contributions to the body piercing world. While I know this list could be MUCH longer, I chose to focus on the companies that produce(d) jewelry for initial piercings.

Authors note: I would like to thank Barry Blanchard, JD Lorenz, Josh Warner, Maria Tash, Sue from Neometal and Wickert Beasley for their prompt responses to my questions on dates. Also I would like to thank the rest of the companies that put a timeline on their websites that made my list much easier to compose.

Point 73: Count All The Things – Christina Shull

1 Comment read Issue 73, Procedures

Christina Shull headshotChristina Shull
Owner of Integrity Piercing

One of my favorite parts about December is counting every little piece of jewelry in my studio for end of year inventory. For most people, that line was read in a sarcastic tone. In my case, it is true and should have been ended with an exclamation point and been followed with a smiley face. While this article will probably not have any effect on the enthusiasm you may or may not have while counting your jewelry, I do hope to share some tips that could make the experience a little smoother and hopefully more pleasant for you.

3088809I would love to address why end of year inventory is so important and the impact it has on your financial statements and taxation. You are spared from that info in this particular article. It would be a very long article otherwise, maybe even a small book, and I do not want to bore you to death if you are not a current or future business owner. If you are interested in learning more about the administrative aspect of piercing, stay tuned in January for the debut of my blog “The Business of Piercing” which will be filled with plenty of information on the business side of the industry: taxes, accounting, employee relations, legalities, financial statements, and all the aspects that go into keeping your business profitable and compliant with local, state, and federal regulations. For now, let’s delve into how to make your end of year inventory count as smooth as possible.

IMG_1311
Photograph by Kendra Jane

There are many reasons for needing an accurate count of your inventory, with the most relatable reason being that none of us want to pay more taxes than we absolutely have to. An accurate count can significantly reduce the chance that you will overpay for taxes related to jewelry investments. Shrinkage, or losses, which can happen in our industry fairly easily: jewelry being dropped on the floor and rolling into the abyss, small parts easily end up in the sink drain of the processing room (along with almost every threaded or pin taper you once had), and the often overlooked comp jewelry that a client received as a nocharge upsize/downsize/“oops, the piercer grabbed the wrong size/ color/etc.” An accurate inventory count at the end of the year allows you to properly determine your Cost of Goods Sold (COGS), which directly affects the amount of tax you will pay.

Planning your end of year inventory count is the best way to minimize stress and increase accuracy. Inform your staff members in advance about inventory planning and give them clear and specific instructions, preferably in writing. During your planning, consider the following:

Photograph by Marina Pecorino

When will the count be done? Ideally, inventory counting will be done when the studio is closed, or at least during a day when business is expected to be slow. I personally opt to perform the count on a day my studio is closed. It is worth it to me to pay a little bit of overtime in return for a count that is done in a shorter period of time and is more accurate when there are no interruptions from clients or vendors.

Who will be counting the jewelry and what will they be counting? In my two person studio, we split the responsibility pretty much down the middle. My staff member counts and records the jewelry in the front of the studio – everything in the display cases and the bead totes used to store backstock jewelry. I count and record the jewelry in the piercing room, clean room, and any potential defective jewelry that has not been replaced yet.

IMG_3322
Photograph by Kendra Jane

It is uncommon to have jewelry that should be excluded from the inventory count, but there are a few situations where it can happen. Those situations should be explained in advance. For example, the majority of the jewelry I have on display are items that I would sell if needed, such as jewelry in “body bits” that is switched out periodically or a threaded end that I would sell if it was the last in stock of its color, size, style, etc. However, my anodized captive display has the rings stabilized with glue inside of a shadow box. Upon assembly of that display, I knew the rings would never be sold in the future and they were re-categorized from Jewelry and Aftercare (COGS) to Displays and Decorations (Expense). Another studio I worked at years ago had jewelry on display that was not going to be sold – discontinued “collectors’ items” and antiques. Those items needed to be excluded from the jewelry inventory because they were not items for resale.

What can you do to prepare? Pre-counting preparation can make the inventory count go smoother. The day before the count, make sure that jewelry is organized and items are in their designated places. If you have recently received a jewelry order, have all jewelry checked in, processed, and put away. Every studio seems to have a place, if not many places where jewelry just ends up; a special cup or drawer can be found in almost any room that often contains random beads, balls, and o-rings. Defective jewelry has a habit of ending up in a variety of different locations. Check for all of these miscellaneous pieces of jewelry and put it all away where it belongs.

PhotographybyMarinaPecorino-1236
Photograph by Marina Pecorino

How will the count be recorded? If you have a Point of Sale system, you may have inventory worksheets available that are ready to print and go. I just recently discovered that QuickBooks has printable inventory sheets that I am very excited to use this year! (Reports>Inventory>Physical Inventory Worksheet, for those who are interested). If your POS program does not have dedicated inventory sheets or if you choose not to use them, you can print an item list and use that to record your count. Many studios use the same inventory sheets that they would when counting stock items before placing an order. Blank paper can work as well, although the less detailed the documentation system, the easier it can be to overlook or miscount items.

Marking items that have already been counted is important. Keeping track of what has and has not been counted is not as simple as it may seem. For example, I have multiple threaded end options in one display frame and when following inventory sheets, they are far apart alphabetically on the sheet. In this case, I have used something to mark the rows or particular items that have already been counted; masking tape or little strips of post-it notes have both worked well for me. Sometimes I have drawn a quick diagram of the display and what is in it, crossing off pieces as they are counted. It may be easier for you to remove the jewelry from the displays entirely and replace them later. This provides a perfect opportunity to refresh displays for the new year. The important part is finding a method that will easily communicate to all staff members what has already been taken care of.

Double counting is suggested to ensure accuracy and this is when having a POS definitely comes in handy. I consider my POS stock numbers to be fairly close to accurate, with a physical count done to confirm. If the physical count matches the amount in the POS, I consider the single physical count to be fine. If the physical count does not match the amount in the POS, I double and sometimes triple or even quadruple check the physical count before I alter the amount in the POS. Double-checking is crucial when we have large quantities of small items that can be found in many locations. For example, 14g 2mm threaded flowers in my studio can be found in numerous places: a frame that has the more decorative 14g threaded options, in a few display body bits, in the middle of an assembled industrial barbell, on the top of some displayed navel curves, in one of the bead totes for backstock items at the front counter, and with flower navel curve posts in the piercing room. With 6 different places to find one particular item, it can be easy to miscount.

Photograph by Marina Pecorino
Photograph by Marina Pecorino

Employees need to be aware of what is counted separately versus together. You need to have consistency between how an item is entered into the POS or otherwise introduced into inventory and how it is counted. For instance, if a double gemmed navel curve was entered into the POS with the top gem and gemmed post being received as a single item, staff members need to consider both components when counting inventory. If there is a gem curved post without a top (usually because individual gems were out of stock when one was needed), this needs to be documented. Failure to document this would result in an assumption of the whole piece, which would lead to a lower COGS and result in paying tax on an asset you do not actually have.

Once you have completed your end of year inventory and extracted the information that you need for filing your taxes, don’t toss the inventory sheets! End of year inventory counts will serve as helpful tools for a variety of things including documentation of the actual inventory count (really useful if you are unlucky enough to be audited), your starting inventory amount for the next year (which you will use along with your next end of year inventory and purchase receipts to determine your COGS next year), and is very helpful when making adjustments to desired inventory stock numbers.

Now is a good time to start preparing for your year end inventory count. Create or update existing inventory sheets, draft a protocol for inventory counting, pick a day and time for the count and schedule some staff members specifically for this project, research additional tips and tricks to make your inventory count smoother. Most importantly, if you don’t want to pay more taxes than you absolutely have to, start getting your inventory numbers down in the next couple of weeks, which helps get your COGS amount up!

Photograph by Marina Pecorino
Photograph by Marina Pecorino

Point 73: Portfolio Photography: Tips & Tricks – Marina Pecorino

1 Comment read Issue 73, Social Media & Safe Piercing, Technology

Point-70-From-the-Editor-Marina-0.jpgMarina Pecorino
Managing Editor of Content & Statistics

In the grand scheme, our industry is young, but in reference to how we display our portfolios there has been quite a bit of progress throughout our short history. During the inception of the modern piercing movement, piercers displayed their work selectively in printed photographs, which resulted in a lag between when a piercing was performed and when it was available to showcase. The range of viewing audience was also much smaller as a result of this medium and its reliance on a physical print.

As the internet became more accessible, shops were able to use websites to display their collective works. Websites like BMEzine came into being, allowing piercers to reach a broader audience, beyond the bounds of geography. However, until digital photography became affordable and readily available, this medium was still limited by the lag and expense of developing film and scanning photographs.

Source: Saint Sabrina's
Source: Saint Sabrina’s

Modern digital photography has reached a level where decent digital cameras are built into every smartphone, and standalone digital cameras are widely available. Social media allows us to quickly reach an audience around the world. We hold these sophisticated marketing tools in our pockets, purses, and fanny packs every day, but do we know how to implement them to their fullest potential?

This will be a two part instructional article to help you make the most of these tools. In this first edition, I’ll touch on some tricks and tips for shooting portfolio photographs. In Issue 74, I’ll explain some ways to make sure those photographs have as broad a reach as possible, using the tools allowed through current social media and search engine optimization.

And now on to the good stuff! I hope that you find these quick techniques and tricks useful in displaying your work to the world.

Source: Dorje Adornments
Source: Dorje Adornments

• Variety—Don’t get drawn into only taking photographs of your favorite types of piercings or jewelry styles. Strive to show the full range of options available within your studio and the diversity of your clientele. Showing a mix of gender, race, age, and style helps make your portfolio relatable to a broader range of your clients and allows your potential client an opportunity to visualize themselves and their new or upgraded adornment within your portfolio.

• Composition—Your photograph is intended to display your superb piercing technique and the incredible, high polished jewelry you’ve used, so make sure that these are the main focal point. Frame collages have become popular and allow you to show the piercing from multiple angles. These are a great way to show a close up and distant view (with a smiling, happy client, maybe?), and can be especially useful in displaying symmetrically paired piercings.

• Distance and Zoom—When zooming in on your subject within your digital camera, image quality loss is irreversible. Therefore you should avoid using the digital zoom, which may leave your image looking pixelated and distorted. It is far better to take a step or three closer to your client to take advantage of the natural optics of the lens. If necessary, crop the image after the fact to get rid of extraneous or distracting aspects or achieve a closer view. That being said, be careful not to get “too close”. This can make the viewer feel uncomfortable and the piercing will lose some of its impact without the rest of the anatomy as a frame of reference.

• Focus—If a photograph is out of focus, avoid using it, regardless of how in love with it you may be. An out of focus image will not tell the viewer much about the health of a piercing or quality of the jewelry used. Using a shallow depth of field (choose a large aperture close to f/2.8, for the photography geeks in our midst) to blur the background can be useful if you’re shooting photographs in a visually busy environment. If you forgot to use this setting while taking the photograph, post-processing software like Photoshop, Lightroom, Affinity, Exposure, or photography apps on your smartphone can accomplish this after the fact as well. If you have the option, try using a minimalistic or subtle background, but still aim for some color and texture when possible.

• Lighting—If you have the environment available to take portfolio photographs outside or close to a window, choose a spot that is well-lit by indirect sunlight. Unrestrained direct sunlight can cause harsh shadows and loss of detail in highlights. If you’re shooting in a windowless room, positioning multiple light sources with natural spectrum light bulbs can simulate indirect sunlight. If you’re shooting with a DSLR, using a bounce flash directed at a white wall behind you can help evenly illuminate your client and their beautiful jewelry. Regardless of your lighting, watch out for unintentional shadows near eyes, noses, and chins.

• Color Balance—Using natural spectrum lighting is a great start to provide the truest colors for jewelry and the healthiest skin tones for your clients, but color correction can be done in post-production with most photography processing software and apps, like the ones mentioned earlier. Be careful about color balance; aim to make your whites as true as possible. Photographs with a greenish or yellowish hue may cause your client to look sickly. A reddish hue may cause your client to look flushed. If your camera has an option for white balance, set it appropriately based on your environment or take multiple photos with the white balance set a few different ways.

• Quality of Work—Avoid including angry, bloody, or otherwise unappealing piercings; happily healed piercings should make up the vast majority of your portfolio. If you are not pleased with the angle or placement, or if the perspective of the photo makes it look like something is wonky, choose a different photo or piercing. Your portfolio does not need to include every piercing you’ve performed or every photograph you’ve taken. It should be a selection of your very best work and it should show that the piercings you perform will heal well and elegantly accentuate the anatomy that surrounds them.

Source: Cold Steel
Source: Cold Steel

Point #73: President’s Corner – Brian Skellie

2 Comments read Issue 73, Medical, President's Corner, Sterilization, Technology
Brian Skellie working with asepsis

Brian Skellie headshot at 2014 APP conference by April BerardiBrian Skellie
APP President

The APP is always going to be a work in progress, since standards are ever changing with new evidence. Lauded among the guiding principles we maintain as safety standards for our membership is the practice of asepsis. We refer to many procedural acts as practice, as they are rarely ever perfect and require a profound theoretical understanding coupled with regular exercise and critical self observation for improvement. Asepsis requires the right combination of cleaning and sterilization with touching and not touching manual, instrumental and environmental surfaces for infection prevention and control (IPC).

We apply two types of asepsis to reduce or eliminate infection transmission: medical asepsis which emphasizes protection for the client and their environment is more concerned with cleanliness and prevention of the spread of the clients own organisms to other clients, while surgical asepsis which focuses on sterilization and maintaining sterility for items that will be introduced to a wound or piercing cavity or penetrate the skin, thus preventing the introduction of organisms to the client. Medical asepsis can be referred to as clean technique, and surgical asepsis as sterile technique. A thorough and effective means of surgical asepsis should be implemented for all body art procedures. [CE resource]

“Sterile technique is not one set-in-stone method, this is a guideline for establishing your own individual technique.” Nor is it advocating precautions beyond what our sort of minimally invasive ear piercing procedures require for antisepsis and sterility. For those who are curious to learn more about Maximum Sterile Barrier precautions, the CDC HICPAC describes further steps that can be taken for more seriously invasive punctures such as a central venous or arterial catheter. For body artists, an achievable version of surgical asepsis (sterile technique) maintains barriers such as sterile gloves, masks and eye protection, and removes obstacles likely to compromise these barriers such as hanging earrings and necklaces, long hair, rings and watches.

“I think that when you say ‘aseptic technique,’ a lot of people automatically think ‘operating room’ or ‘surgical procedure,’” explains Kathleen Meehan Arias, MS, CIC, president of the Association for Professionals in Infection Control and Epidemiology (APIC) and director of Arias Infection Control Consulting LLC. “That’s rightly so because that is where the bulk of it is. But whenever you are doing anything that bypasses the skin barrier, you should automatically think aseptic technique.” — Applying Aseptic Technique in all Clinical Settings

This outline of technique suggestions comes from the AORN, APIC and CDC standards and recommended practices as well as a number of textbook resources such as Asepsis, the Right Touch. Much of it needs very little interpretation for our purposes. Safety precautions should result in greater control of the procedure, clinical benefits, reduced harm, and limited liability for negligence.

Rationale: There exist standards for prevention of surgical site infection that apply to even minor invasive elective procedures, and piercing falls within this category by definition.

“When implemented, these guidelines should reduce the risk of disease transmission in the piercing environment, from piercee to piercer, and from piercee to piercee. Based on principles of infection control, the document delineates specific guidelines related to protective attire and barrier techniques; handwashing and care of hands; the use and care of sharp instruments and needles; sterilization or disinfection of instruments; cleaning and disinfection of environmental surfaces; disinfection and the decontamination room; single-use disposable items; the handling of previously worn piercing jewelry; disposal of waste materials; and implementation of recommendations.”— Piercing Experience adapted IPC standards from the CDC

My personal observation is that these policies have helped limit risk at my studio. They have been reviewed by legal counsel, qualified bioscientists, medical professionals, and university professors. That said, I’m sure that they could always use more input and adaptation. Body art safety is an ever-evolving field of interest.

One might say there is no single right way to pierce. Many variations are possible with an understanding and application of asepsis. We are an industry in which studios market based on their specialties, and for some that is participation in continuing education, gaining knowledge, and raising standards. Maintaining a positive tone one can show those as strengths without diminishing others. This is crucial to developing the bonds between us as fellow professionals. If you believe something you do has advantages, feel free to share that with your customers in a way that does not end up overly critical of our other colleagues.

2013 APP Procedure ManualIt should be clear that these position statements in support of surgical asepsis are neither contradictory nor accusatory of others currently using APP minimum standards for medical asepsis according to our 2013 revised Procedure Manual. They build upon them as we are all encouraged to do as Members, employing additional precautions and elective limitations based on evidence and strong theoretical rationale. My preference is to demonstrate best practices as an educator instead of the minimums. If we all did no more than what was required, the industry would not be as interesting.

I believe that it is the responsibility of each of us to uphold the values we feel are important, and to continually advance our standards in order to achieve our goals. I do have romantic hopes that over time the industry will move in the direction of pure, validated, ethical materials and practices that are as harmless as possible. A predictable, consistent, safe, simple, and gentle piercing experience is attainable today and can be refined based on these principles and open communication among colleagues. The recommendations that I make in addition to APP minimums result from a continually researched process of elimination and adaptation, and they are freely shared for peer review. Please consider this a formal request for comments.

Point #73: From the Editor – Marina Pecorino

Comments Off on Point #73: From the Editor – Marina Pecorino read From the Editor, International, Issue 73, Social Media & Safe Piercing

Point-70-From-the-Editor-Marina-0.jpgMarina Pecorino
Managing Editor of Content & Statistics

I realized that in planning my pieces for this issue, I composed my outlines in terms of an almost methodical past—present—future format. As a result, it has become apparent to me that even when planning to discuss the current events of our industry, I can’t help but relate it back to where we came from and what has brought us to this point.

In the past, current events within the body modification community were defined within small regional groups, making the reach and influence fairly limited. Then as piercing enthusiasts became less closeted and more prevalent, conferences like the APP Conference and BMXnet, publications like PFIQ (Piercing Fans International Quarterly), and internet communities like BME became available. With this, the barriers of geography were broken and current events were defined more by the shared interests of individual communities. This allowed for a broader reach of knowledge and experience, and for enthusiasts to have more choice available in their involvement with specific interests. But information still had a trickling spread; trends were slower to be replaced with a newer, better, shinier thing.

With the overwhelming prevalence of social media and technology, the wealth of knowledge available is incredible and the reach of information is limitless. Trends change almost as quickly as they are born; in a matter of days, sweeping interest in a particular piercing placement or jewelry style can become global. Unfortunately, the same can be true in regards to misinformation and misconceptions surrounding placements, techniques, jewelry, and aftercare. It is our shared responsibility to ensure the quality and validity of piercing specific information available to our peers and the general public. Please be mindful of what you are sharing with the world.

However, even with this global reserve of knowledge, there are still specific concerns that only affect certain areas. In this issue, we are sharing some of those concerns seen during the revision process of body art laws and rules and regulations within the state of Ohio. You will also get a glimpse into the newly formed UKAPP and the issues specific to body modification artists in the European Union and the United Kingdom.

We hope that these articles help you gain an understanding and greater world view of what is happening within the professional realm of your peers.

Point 73: From the Editor – Kendra Jane Berndt

Comments Off on Point 73: From the Editor – Kendra Jane Berndt read Camp, From the Editor, Issue 73, Lifestyle, Social Media & Safe Piercing

Point-70-From-the-Editor-Kendra-0.jpgKendra Jane Berndt
Managing Editor of Content & Archives

Change: it is the only thing that is certain in life (other than death and taxes). So why is it that change is so hard for so many? I am one of those many. I consider myself in the know when it comes to what is hip and cool these days, but in all actuality I struggle everyday with the fast paced, significant changes that are happening in the world around us.

In order for any change to happen, small or big, someone has to start the wheels in motion. I am a firm believer in the idea that everyone can make a difference, and together a lot of small differences can lead to great change. We can all have a voice and make sure that it is heard. This is not to say that everyone will listen to your voice, nor will they like what you have to say, but neither of these reasons should ever stop you from using your voice. That is one of the things I like about the body piercing industry as a whole; there are so many accepted ways to get to the same final product. We may not all agree on how to get there, but for the most part we are all open minded enough to realize that this is the case.

Very recently we were able to get a lot of these different opinions together in the same room at the first ever APP Members Retreat in Georgia. You could see change happening— changes in perspectives, methodologies, self esteem—and know that further change in practices were to come as a result of attendance. I was so fortunate to be a part of that group and those changes.

As an organization the APP stands poised for its next change with the anticipated election of three new Board Members this winter. This year there are a number of outstanding candidates that will be in the running for these positions. We, as a membership, are so fortunate to have the ability to directly drive the changes that shape our organization. So when your ballot arrives, remember you have a voice and it should be heard.

I hope you enjoy Issue 73 of The Point as we take a look at some of the current issues and changes on the horizon for body piercing.