Your studio's portfolio,
always on screen

The client chooses the artist, not the studio. A tattoo is decided by who does it and in what style, and the client wants to see real work before trusting their skin. A portfolio by artist and style — realism, fine line, blackwork — in the waiting area takes the client to the right artist and closes the booking far better than flicking through photos on a phone in a hurry. They see the quality and the style, and arrive decided.

The flash and the deposit order the diary. The flash designs at a set price fill the gaps with quick, easy-decision bookings, and are income that would otherwise sit as dead air between big projects. And showing the deposit policy cuts the no-shows — the client who does not turn up — which are among the most damaging to a studio's diary. The screen communicates both without anyone having to explain them.

The piece finishes healing in someone else's bathroom, and you are not there. The two weeks that decide how the tattoo looks for the next thirty years happen entirely out of your hands — sun, gym, picking at it, the wrong cream from a chemist who has never seen one. You get one shot at being heard, and it is the ten minutes while they are paying and still a bit high on it. What is on the screen at that moment is the closest thing you have to standing in their bathroom on day four.

To be straight with you: we do not integrate natively with your booking calendar or your Instagram. If your feed is at a URL, the screen can show it; if not, you upload the portfolio and the flash by hand. Bookings stay on your channel; Digisini is the screen layer that shows the work, fills the diary and looks after the aftercare.

And a deposit only works if what it covers was written down before it was taken. What it holds, whether it comes off the final price, how much notice moves a date without losing it, and what happens if the design changes on the day. Said at the counter while someone is excited, none of it is heard; written where people wait, it is read by the person who is about to book — which is the only moment it can still change anything.

The rescheduling rule deserves particular care, because studios usually pick the wrong lever. A hard no-refund policy protects the day and quietly punishes the client whose child got ill, who then tells that story for years. A generous one loses days. The version that works is neither: a clear notice period, one free move, and the deposit held rather than lost. Clients respect a rule that is written and applied to everyone far more than a favour granted case by case, which always looks like favouritism to whoever did not get it.

The other thing worth writing plainly is the age rule, because here it is absolute. Tattooing anyone under eighteen is an offence, and no parental permission changes that — a point that surprises a striking number of people, including parents who arrive intending to sign something. Having it on the wall removes the argument from the artist entirely: nobody is refusing a request, the wall is stating the law, and the conversation ends before it becomes personal.

And there is a quieter one that saves as many days as the deposit does: what makes a session not happen. Sunburn on the area, being unwell, having drunk the night before, certain medications. People do not know these things and turn up anyway, and then either the artist works on skin that should not be worked on or the day is lost with the client feeling accused. Written a week earlier, on a screen they saw at their consultation, it stops being an accusation and starts being preparation.

To be straight with you: we display what you upload and we take no bookings or payments. What your deposit terms may say is between you and your own advisers — the point here is only that a lost day in this trade costs what a lost month costs elsewhere, and that almost none of what prevents it is written anywhere a client would read it.