Joe Capobianco grew up on Long Island, New York, about 50 minutes out side of Manhattan. He's an avid fan of great art and attractive women so it's no wonder that he's chosen art as his career, and the female form as his subject matter. He started his tattoo career 15 years ago and, since, has traveled both the country and world plying his trade. He has been published countless times in trade magazines and has been involved in several group art shows, as well as two in which he was the featured artist.
In the Spring of 2006, Joe released two books: "The Joe Capobianco Sketch Book" and "What's Not Ta Like: The Art of Joe Capobianco". Due to the peoples demand for the "Capo Gal", the "Sketch Book" was reprinted less than one year later, and the second edition of "What's Not Ta Like" was released this past January to avid fans the world over.
With several other projects in the works, Joe still manages to travel a bit, visiting friends, attending tattoo conventions and tattooing clients all over the world.
Joe Resides in New Haven, Connecticut, where he lives with his lovely wife Alethea and their irresistible French bulldog, Molly. He shares a studio space with four other talented tattooists called Hope Gallery Tattoo.
The following interview consists of InkedNation user submitted questions...
Rusty Gordon: Who were your influences and how did they effect your wanting to tattoo?
Joe Capobianco: The people who inspired me as an artist before I started tattooing had nothing to do with this industry. Artists like Olivia, Soryama, Michael Whelan, Liberatore, and too many others to name. But once I got into tattooing, artists like Paul Booth, Bernie Luther, Tin Tin, Little Vinnie, Paul Jefferies, Eddid Douich, Mike Ledger, Timothy Hoyer and even Mario Barth, were all huge influences and inspirations back then. But I think its the artists outside of tattooing that really kept me pushing my art.
Cuisinarte: Joe, having been on "Miami Ink", does your opinion of these televised tattoo shows differ from what the vast majority of people think of them... that they are awful?
JC: This is a tough one. Hell, there is so much potential here but its TV man; it's bullshit, it's not real. Id like to think that folks can see through the bullshit and make wise decisions for their tattoos or about the artists on these shows. But they dont; they see something on TV and assume that its the best because it made the tube. I really thought there was some hope here. I was thinking, Shit, if the guys in Miami want me on there -- and the producers are willing to put someone that obviously does not fit the mold for what looks acceptable for TV -- then this could open up all sorts of doors for other artists that deserve the exposure. But, alas, that was not the case. Instead of several great guest artists, the networks were gunning for another broad that looked good in a skirt, with little care for what she did on skin. So the chances of me appearing again was slim. But the bright side of this is that the fellers in Miami choose wisely and took on Tim Hedricks. If you know anything then you know hes no joke. Hes a phenomenal artist and a great choice to replace whats her face. So, while I dont enjoy the show, and think it opens too many peoples eyes to the world of tattoos (not always to our benefit), Id like to think that with the proper attention, they could be a great boon. Now, do I think they're given the proper attention or do I think they're anything more than a TV show? No, and I see them coming to an end before any real good can be gleaned from them.
Cuisinarte: Did appearing on the program help your already stellar career?
JC: Not really. It opened some people's eyes to who I was in the business but, for the most part, it wasnt anything amazing. I will admit it was fun, but if I have one more person refer to me as the shoe guy I'm gonna shit!
Sikrnu: I'd like to know if you've ever run into any censorship issues or [have been] put into a position where you had to defend the integrity of your art due to the way you sometimes depict women?
JC: No, Ive been pretty lucky that way. But I also know my place in the big picture. Hell, I'm not trying to get one of my gals on the cover of Popular Mechanics or some other inappropriate publication. People who will not take offense will see my work for what it is. On the rare occasion where an individual has made a comment, like when some gal wrote on my website that she found my depiction of the female sex disgusting and low class, what did she expect? Its a tattoo website. I wrote back to her, It ain't all rainbows and unicorns on my site, honey.
mrg801: How did you start your career in tattooing? Do you start off uneducated or did you learn that an apprenticeship was first and foremost?
JC: I started off with a very mild interest in tattooing and was asked to apprentice in a shop where Id been tattooed a few times. I am a firm believer in apprenticeships. Its the proper way to learn both the mechanics of tattooing as well as proper shop procedures in most cases... well, at least a handful of cases. I will admit that I was brought into the business in kind of a bad way. Here I am, a fella with a mild interest in tattooing, being asked to learn a trade that at the time was hard to get into. What I like to think set me apart and helped my cause over the years, were the individuals around me helping me daily, and my overall [desire] to be good at this, as well as trying to learn something every day of the week, and continuing that train of thought to this day.
Antwhiting: How you manage to keep your work so fresh and interesting over the years?
JC: Its tough. If you were in my shoes, I dont think youd find my work so fresh and interesting. What really helps is good clients; Ive got some great people wishing to get tattooed by me, not to mention the countless people Ive been tattooing, some for over 12 years. They all have great ideas, and push me on a daily basis. I think that these individuals really deserve a pat on the back every now and then because a lot of the cool, sick, crazy and funky ideas have come from them to start... then I get to put my two cents in and my spin on their ideas.
Fizzylizzy: What is your favourite thing about being a tattoo artist?
JC: The ability and freedom to create. Every day I get to sit down at my table and draw, go to work and hang out with good people. Not to mention, the added bonus of all the great people (fellow artists and clients) Ive met while on the road. It truly is a fantastic way to make a living.
Fgiovannitti: You have a very definitive style. Do you ever get tired of being asked to do the same thing over and over? Or is the reason you promote the images you do, strictly to let people know that this is the style you can never get tired of?
JC: Thanks. I dont always look at my work as being so distinctive but I guess everyone else cant be wrong. I dont get tired of it because every day is still a challenge. I dont think that anything I do comes so easy that its automatic. And I really didnt pick the style that I do today; my clients did. I knocked a couple of cool gals out, got em published, and, whammo, Ive got a signature style of my own! Granted, I love what I do. Even when I was painting, pinups were what I loved to paint most. But when I started tattooing, it was in a street shop and I did whatever came through the doors. The fact that I got pigeon holed (for lack of a better term) with pinups was more the clients requests, than my really trying to do just one style. As for my feelings on the matter, Ill answer the way I have for years: there are worse things to get stuck drawing.
Mrchen: Did you feel many of todays top artists are becoming known for one specific style?
JC: Yes and no. The ones that have made the biggest names for themselves at shows and in magazines have definitely shined brightest when doing one specific style. I think this is a good thing. Bu keep in mind, all the phenomenal artists who choose not to be pigeonholed or have decided to stay home and work on the core cliental, these individuals can rock any style and make everyone look as if it's been done by an artist that only does one. This is an aspect of tattooing today thats kind of been lost a bit. So many artists are hitting the road, doing guest spots, conventions, and whatever, that they neglect their home base. Hell, I know Ive been guilty of it. With that comes the loss of being able to do any style of tattoo well. At this point the only one losing out is the client. Granted, not such a terrible thing today, due to the amount a tattooists around the world.
Krazywayne : Who is the one artist that inspires you the most and what are your inspirations that you look to on a day that you just don't feel like being artistic?
JC: There are so many artists and tattooists that inspire me... way to many to list. I will say that a lot of these young guys coming outta the woodwork really push me and my art to try and do better. That is probably my biggest inspiration today.
tattoodad9375: Do you ever get tired of any particular style(s)?
JC: I cant say I tire of any given style, but some of the ideas themselves get a little worn out. I mean, when I first started doing Day of the Dead gal heads, I never thought that theyd become as popular as they did, and let's face it, theres only so many ways to embellish on a theme. After dozens and dozens of Day of the Dead heads, I'm a little over it. Not to mention all the other artists embellishing on the idea. Although, I do like seeing what others are doing with it.
gdit1891: Other then the word "flattered", what do you say about the less talented tattoo artists that literally copy your work on their clients. This is a general "no, no" but people tend to embrace it when it's your work, which I find very fascinating.
JC: Yeah, this is tough. On one hand, I'm jazzed that people dig my work so much that they think reproducing it is a good idea. But they need to realize that they're not so much hurting me with their repos but the individuals that Ive tattooed, as well as cheapening the tattoos that they're doing on their own clients with work that isnt original. Id rather see my work inspiring individual artists, as opposed to giving them refrence/flash to reproduce on others.
Ieatmybrocolli: What's the most memorable moment in your career thus far?
JC: The time I took a header on the stage while accepting the best of show award in Lausanne, Switzerland about ten years ago. Oh, by the way, all caught on camera and in front of, like, 2000 people.
Kohai: What, if anything, would you like to see change in the industry that would further popularize it and make it more widely accepted as an art form?
JC: I think its already pretty accepted and I'm kinda happy with where its found itself. As for making it more popular as an art form, well, thats really going to come down on the individual artists getting their art out there. We make livings as tattooists so finding the time to produce artwork on top of our already hectic tattooing schedule... well, that can be quite the challenge in itself.
Mjbonanno: If you could pick one artist that is still alive today to tattoo you, who would it be and why?
JC: Greg Irons. I'm a fairly big fan and he had a style that I sort of related to.
Pushinginktatu: When's the next book out?
JC: Thats a complicated question. Tony Ciavarro, Jime Litwalk, and myself started a sketch book back in December '07. It's kinda hit a standstill at about 90 pages. We're really looking to wow folks with it and are unwilling to just throw it out there. Due to our schedules, its been difficult to really give it the time it deserves. I, myself, am working on another sketch book that will be published from Presto Publications (the publisher of my first two books). Ive chosen a different look than my first sketch book and am taking a feather from Jime Litwalk's cap and doing a book on the same line as his latest.
cocob420: I would like to to know what you wanted to be growing up? Most kids aspire to be an an astronaut, fireman, etc... Did you grow up wanting to tattoo?
JC: No, tattooing was not on my agenda growing up. As long as I can remember, Ive always drawn. But it wasnt until junior high that I decided I wanted to be a cartoonist. Ive always been a fan of Charles Schultz and the old Warner Bros. cartoons so becoming a syndicated cartoonist made sense. But it was a lot more difficult than I thought and in high school, painting denim jackets and t-shirts was making me good money. So right outta high school I skipped college and art school and went straight for the private sector. Like I said, tattooing sort of fell in my lap.
Sterilesteve: Do you find that airbrushing and tattooing compliment each other?
JC: Only in the sense that they both require you try to be an original artist. I'm always stressing that tattooists spread there wings in other art forms. I believe by becoming good in one style, it's not so difficult to bring bits of it over to the other and improve in both.
S: Is it hard to switch back and forth?
JC: No, as long as you realize where each art form's strong points are.
S: Could you be happy doing just one and which would you pick?
JC: I think I could be happy with just one and would love to paint more, but at the moment I make a very good living as a tattooist. To walk away from that and all the customers that have kept me busy all these years seems a bit selfish. Theres also the feeling that I think I lack the discipline to paint for a living.
S: What inspired you to pick up the airbrush?
JC: In high school I saw a feller working on a mural using the airbrush and was absolutely fascinated by it. The rest is history.
Jdeadtattoo: When colouring, do you always use disposable grips/tips? Or only for lighter colours?
JC: Only on the road, and I do not switch out to a clean tube or needle to use lighter colors. I'm much too lazy for that.
In the Spring of 2006, Joe released two books: "The Joe Capobianco Sketch Book" and "What's Not Ta Like: The Art of Joe Capobianco". Due to the peoples demand for the "Capo Gal", the "Sketch Book" was reprinted less than one year later, and the second edition of "What's Not Ta Like" was released this past January to avid fans the world over.
With several other projects in the works, Joe still manages to travel a bit, visiting friends, attending tattoo conventions and tattooing clients all over the world.
Joe Resides in New Haven, Connecticut, where he lives with his lovely wife Alethea and their irresistible French bulldog, Molly. He shares a studio space with four other talented tattooists called Hope Gallery Tattoo.
The following interview consists of InkedNation user submitted questions...
Rusty Gordon: Who were your influences and how did they effect your wanting to tattoo?
Joe Capobianco: The people who inspired me as an artist before I started tattooing had nothing to do with this industry. Artists like Olivia, Soryama, Michael Whelan, Liberatore, and too many others to name. But once I got into tattooing, artists like Paul Booth, Bernie Luther, Tin Tin, Little Vinnie, Paul Jefferies, Eddid Douich, Mike Ledger, Timothy Hoyer and even Mario Barth, were all huge influences and inspirations back then. But I think its the artists outside of tattooing that really kept me pushing my art.
Cuisinarte: Joe, having been on "Miami Ink", does your opinion of these televised tattoo shows differ from what the vast majority of people think of them... that they are awful?
JC: This is a tough one. Hell, there is so much potential here but its TV man; it's bullshit, it's not real. Id like to think that folks can see through the bullshit and make wise decisions for their tattoos or about the artists on these shows. But they dont; they see something on TV and assume that its the best because it made the tube. I really thought there was some hope here. I was thinking, Shit, if the guys in Miami want me on there -- and the producers are willing to put someone that obviously does not fit the mold for what looks acceptable for TV -- then this could open up all sorts of doors for other artists that deserve the exposure. But, alas, that was not the case. Instead of several great guest artists, the networks were gunning for another broad that looked good in a skirt, with little care for what she did on skin. So the chances of me appearing again was slim. But the bright side of this is that the fellers in Miami choose wisely and took on Tim Hedricks. If you know anything then you know hes no joke. Hes a phenomenal artist and a great choice to replace whats her face. So, while I dont enjoy the show, and think it opens too many peoples eyes to the world of tattoos (not always to our benefit), Id like to think that with the proper attention, they could be a great boon. Now, do I think they're given the proper attention or do I think they're anything more than a TV show? No, and I see them coming to an end before any real good can be gleaned from them.
Cuisinarte: Did appearing on the program help your already stellar career?
JC: Not really. It opened some people's eyes to who I was in the business but, for the most part, it wasnt anything amazing. I will admit it was fun, but if I have one more person refer to me as the shoe guy I'm gonna shit!
Sikrnu: I'd like to know if you've ever run into any censorship issues or [have been] put into a position where you had to defend the integrity of your art due to the way you sometimes depict women?
JC: No, Ive been pretty lucky that way. But I also know my place in the big picture. Hell, I'm not trying to get one of my gals on the cover of Popular Mechanics or some other inappropriate publication. People who will not take offense will see my work for what it is. On the rare occasion where an individual has made a comment, like when some gal wrote on my website that she found my depiction of the female sex disgusting and low class, what did she expect? Its a tattoo website. I wrote back to her, It ain't all rainbows and unicorns on my site, honey.
mrg801: How did you start your career in tattooing? Do you start off uneducated or did you learn that an apprenticeship was first and foremost?
JC: I started off with a very mild interest in tattooing and was asked to apprentice in a shop where Id been tattooed a few times. I am a firm believer in apprenticeships. Its the proper way to learn both the mechanics of tattooing as well as proper shop procedures in most cases... well, at least a handful of cases. I will admit that I was brought into the business in kind of a bad way. Here I am, a fella with a mild interest in tattooing, being asked to learn a trade that at the time was hard to get into. What I like to think set me apart and helped my cause over the years, were the individuals around me helping me daily, and my overall [desire] to be good at this, as well as trying to learn something every day of the week, and continuing that train of thought to this day.
Antwhiting: How you manage to keep your work so fresh and interesting over the years?
JC: Its tough. If you were in my shoes, I dont think youd find my work so fresh and interesting. What really helps is good clients; Ive got some great people wishing to get tattooed by me, not to mention the countless people Ive been tattooing, some for over 12 years. They all have great ideas, and push me on a daily basis. I think that these individuals really deserve a pat on the back every now and then because a lot of the cool, sick, crazy and funky ideas have come from them to start... then I get to put my two cents in and my spin on their ideas.
Fizzylizzy: What is your favourite thing about being a tattoo artist?
JC: The ability and freedom to create. Every day I get to sit down at my table and draw, go to work and hang out with good people. Not to mention, the added bonus of all the great people (fellow artists and clients) Ive met while on the road. It truly is a fantastic way to make a living.
Fgiovannitti: You have a very definitive style. Do you ever get tired of being asked to do the same thing over and over? Or is the reason you promote the images you do, strictly to let people know that this is the style you can never get tired of?
JC: Thanks. I dont always look at my work as being so distinctive but I guess everyone else cant be wrong. I dont get tired of it because every day is still a challenge. I dont think that anything I do comes so easy that its automatic. And I really didnt pick the style that I do today; my clients did. I knocked a couple of cool gals out, got em published, and, whammo, Ive got a signature style of my own! Granted, I love what I do. Even when I was painting, pinups were what I loved to paint most. But when I started tattooing, it was in a street shop and I did whatever came through the doors. The fact that I got pigeon holed (for lack of a better term) with pinups was more the clients requests, than my really trying to do just one style. As for my feelings on the matter, Ill answer the way I have for years: there are worse things to get stuck drawing.
Mrchen: Did you feel many of todays top artists are becoming known for one specific style?
JC: Yes and no. The ones that have made the biggest names for themselves at shows and in magazines have definitely shined brightest when doing one specific style. I think this is a good thing. Bu keep in mind, all the phenomenal artists who choose not to be pigeonholed or have decided to stay home and work on the core cliental, these individuals can rock any style and make everyone look as if it's been done by an artist that only does one. This is an aspect of tattooing today thats kind of been lost a bit. So many artists are hitting the road, doing guest spots, conventions, and whatever, that they neglect their home base. Hell, I know Ive been guilty of it. With that comes the loss of being able to do any style of tattoo well. At this point the only one losing out is the client. Granted, not such a terrible thing today, due to the amount a tattooists around the world.
Krazywayne : Who is the one artist that inspires you the most and what are your inspirations that you look to on a day that you just don't feel like being artistic?
JC: There are so many artists and tattooists that inspire me... way to many to list. I will say that a lot of these young guys coming outta the woodwork really push me and my art to try and do better. That is probably my biggest inspiration today.
tattoodad9375: Do you ever get tired of any particular style(s)?
JC: I cant say I tire of any given style, but some of the ideas themselves get a little worn out. I mean, when I first started doing Day of the Dead gal heads, I never thought that theyd become as popular as they did, and let's face it, theres only so many ways to embellish on a theme. After dozens and dozens of Day of the Dead heads, I'm a little over it. Not to mention all the other artists embellishing on the idea. Although, I do like seeing what others are doing with it.
gdit1891: Other then the word "flattered", what do you say about the less talented tattoo artists that literally copy your work on their clients. This is a general "no, no" but people tend to embrace it when it's your work, which I find very fascinating.
JC: Yeah, this is tough. On one hand, I'm jazzed that people dig my work so much that they think reproducing it is a good idea. But they need to realize that they're not so much hurting me with their repos but the individuals that Ive tattooed, as well as cheapening the tattoos that they're doing on their own clients with work that isnt original. Id rather see my work inspiring individual artists, as opposed to giving them refrence/flash to reproduce on others.
Ieatmybrocolli: What's the most memorable moment in your career thus far?
JC: The time I took a header on the stage while accepting the best of show award in Lausanne, Switzerland about ten years ago. Oh, by the way, all caught on camera and in front of, like, 2000 people.
Kohai: What, if anything, would you like to see change in the industry that would further popularize it and make it more widely accepted as an art form?
JC: I think its already pretty accepted and I'm kinda happy with where its found itself. As for making it more popular as an art form, well, thats really going to come down on the individual artists getting their art out there. We make livings as tattooists so finding the time to produce artwork on top of our already hectic tattooing schedule... well, that can be quite the challenge in itself.
Mjbonanno: If you could pick one artist that is still alive today to tattoo you, who would it be and why?
JC: Greg Irons. I'm a fairly big fan and he had a style that I sort of related to.
Pushinginktatu: When's the next book out?
JC: Thats a complicated question. Tony Ciavarro, Jime Litwalk, and myself started a sketch book back in December '07. It's kinda hit a standstill at about 90 pages. We're really looking to wow folks with it and are unwilling to just throw it out there. Due to our schedules, its been difficult to really give it the time it deserves. I, myself, am working on another sketch book that will be published from Presto Publications (the publisher of my first two books). Ive chosen a different look than my first sketch book and am taking a feather from Jime Litwalk's cap and doing a book on the same line as his latest.
cocob420: I would like to to know what you wanted to be growing up? Most kids aspire to be an an astronaut, fireman, etc... Did you grow up wanting to tattoo?
JC: No, tattooing was not on my agenda growing up. As long as I can remember, Ive always drawn. But it wasnt until junior high that I decided I wanted to be a cartoonist. Ive always been a fan of Charles Schultz and the old Warner Bros. cartoons so becoming a syndicated cartoonist made sense. But it was a lot more difficult than I thought and in high school, painting denim jackets and t-shirts was making me good money. So right outta high school I skipped college and art school and went straight for the private sector. Like I said, tattooing sort of fell in my lap.
Sterilesteve: Do you find that airbrushing and tattooing compliment each other?
JC: Only in the sense that they both require you try to be an original artist. I'm always stressing that tattooists spread there wings in other art forms. I believe by becoming good in one style, it's not so difficult to bring bits of it over to the other and improve in both.
S: Is it hard to switch back and forth?
JC: No, as long as you realize where each art form's strong points are.
S: Could you be happy doing just one and which would you pick?
JC: I think I could be happy with just one and would love to paint more, but at the moment I make a very good living as a tattooist. To walk away from that and all the customers that have kept me busy all these years seems a bit selfish. Theres also the feeling that I think I lack the discipline to paint for a living.
S: What inspired you to pick up the airbrush?
JC: In high school I saw a feller working on a mural using the airbrush and was absolutely fascinated by it. The rest is history.
Jdeadtattoo: When colouring, do you always use disposable grips/tips? Or only for lighter colours?
JC: Only on the road, and I do not switch out to a clean tube or needle to use lighter colors. I'm much too lazy for that.
VIEW 3 of 3 COMMENTS
Artist Travis Louie, Tattoo Artist Joe Capobianco and LA Ink's Hannah Aitchison from Paul Booth's Art Opening 4/08 (photo by steve prue):
thanks for the interview - great read!