ornamental archive

Russ Abbott
Copyright © 2013 by Rabbott Industries Inc.
Ironclad Productions, 2013

All rights Reserved. This book is intended as reference for professional tattooers,
designers, and craftspeople. No part of this book may be reproduced in any manner
without the express written consent of the publishers, except in the case of brief
exerpts in critical reviews or articles.

Design and layout by: Two Arms Inc. , Brooklyn NY.

All illustrations and tattoos by: Russ Abbott
Photography by: Mary D’Aloisio, pages: 10, (bottom) 11, and 115
Photography by: Jason Travis,(top) page 11

Ink and Dagger Tattoo

1036 West College Avenue Decatur, GA. 30030
www.InkAndDaggerTattoo.com

Printed in China
ISBN: 978-0-615-81094-2
 dedicated to
Beth, Jonah, Cody, and Madelyn.
 ornamental archive
Russ Abbott

The illustrations in this book were inspired by my use of ornamental design in my tattoo work.
Ornament includes a whole range of styles and eras of art history. In my designs, you’ll see leafy designs
that were originally based on the Greek acanthus plant. The ancient Greeks also used olive branches,
grapes, and wheat in their ornament. Other designs included are based on shells, flowers, and vines.
Throughout history, artists and craftspeople have taken the ornamental designs of the Greeks, Egyptians,
Romans, and many other cultures and have adapted them to add interest to their art and architecture.

Testament to the role of exquisite ornamental designs and flourishes in modern times can be seen when
we look at everything from money, textiles, picture frames, architecture, and even tattoos. The images in
this book were designed to be useful to artists, craftspeople, and tattooists who are interested in adding
ornamental designs to their work. Feel free to use as-is, mix and match, and adapt them to suit your needs.

I’ve kept the style of the illustrations simple enough to give a sense of the form without over-doing the
rendering and the details. Instead of spending more time to develop color schemes and adding details,
I wanted to leave some room for the individual artist to create and adapt these designs for their own purposes.

I’ve included several tattoos from my own portfolio that provide examples on how I might use these
designs. I encourage the use of the ornaments, but please do not duplicate the tattoos themselves;
they belong to the clients who are wearing them and are included here only for inspiration.

ink & dagger tattoo

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Russ Abbott

ornamental archive
Russ Abbott
• ornamental archive • Index

introduction 4

index 6

process 7

frames 14

flourishes 48

medallions 74

elements 86

tattoos 100
 1 2 3 4
Refine the rough sketch,
and consider value,
and depth.

I start by roughing in a
branching spiral shape.
Try to keep the curves smooth
and create a nice flow.

Final outlines are

clean and smooth.

These lines are the main

veins of the Acanthus leaf.

Start Here.

Keep it loose at first.

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• ornamental archive • Process

Russ Abbott
The first time I can remember drawing an ornamental frame was for a tattoo design. top left:
It was a large, realistic rendering of a Merchant Marine ship. My client wanted the Corinthian column.
tattoo in memory of his Grandfather. We discussed the options and eventually decided
top right:
on a reference image for the ship. The tattoo would span the entire length of his shin
U.S. One dollar bill.
and I would need to invent a way to create a border for the piece. I had recently picked
up a vintage oval mirror with intricately-carved ornaments on the frame and as I was bottom left:
trying to think of a great concept for the client, my eyes settled on the ornamental Ornamental door handle.
mirror and I instantly knew what to do.
bottom right:
Wood carving relief.
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Russ Abbott • ornamental archive • Process

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Frames
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Flourishes
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Medallions
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Elements
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 Tattoos

I have done countless tattoos with ornamental frames and design elements.
I draw ornamental frames for portraits of people, animals, and objects of all
kinds. I use the ornamental designs to add flow and excitement to otherwise
stiff compositions. I’ve even started doing large-scale works that are made up
entirely of ornaments alone.
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Thank You to everyone who worked with me to make this book possible.

Russ Abbott