The olive wood artists started practicing their craft from the start of the fourth century. This skill was taught mainly by the monks who came to that area. The monks taught them how to cut and shape the olive wood so that they can create beautiful statues.

Larger artists had only one major problem, how to bring buyers into Bethlehem to see their work. In the case of the smaller artists, they faced several roadblocks (pun intended). They faced problems in getting tools to do their job. Since they were not as well established like a few others, they could not get enough buyers as many chose to buy the lovely olive wood gifts from the established artists. So, these smaller artists had to do with what little they have.

Many of the smaller artists work from their own basements or little nooks. They do not have the resources to have a separate office or workshop. Many of the houses in Bethlehem have a basement. So, the artists make use of these basements to work on the lovely products. Even a little space somewhere in their homes is more than enough for them to work. As an example, one artist had a small workshop measuring only about 3 meters by 3 meters (just under 30 square feet). You can barely call this a workshop he made do with whatever space that was available to him. His gift was making little crosses. He used to get olive wood from the market. Once getting the olive wood transported to his ‘workshop’, he used to carve them until they came to the shape of a cross. Once the shape has been achieved, he used to smooth them until the edges are perfect. With a little laquer and a few more finishing touches, the gift would be ready. Then, he used to take it to the market to see if he could get any buyers for his products. Since he was a smaller artist, he would not attract many buyers immediately.

Another artist had so little space for a workshop that one needed to duck in order to move inside it. There was not even space for an average adult to walk upright inside his basement workshop. But, a little space was all that was needed for him to make his gifts. He used to sit in his little wooden desk and carve various Mother of Perl pendants, earrings and broaches.

The tattoo world has kept its doors closed to others, allowing people in one by one as an apprentice. This is a nod to the old school style of teaching a trade, craft, or a skill. It keeps the talent moving from person to person and creates a real personal touch to the craft.

The question is how to become an apprentice?

The easiest way to get moving on this is a simple one, but it actually stops most people from ever starting. This is the act of going out and asking local tattoo shops and local tattoo artists for their input on how a person can become a tattoo artist. This naturally leads to a good opener into the question of local apprenticeships and how one might get their foot in the door of such an opportunity.

At the same time, beginner artists might take the step of buying equipment on their own to get their hands dirty. This does not mean giving tattoos, as there is fake skin to practice on just for that. However, it is worth considering buying a tattoos kit or other type of beginner supply kit to understand what pieces are involved, how to handle them, how they work, and how to clean them.

With this knowledge fresh in mind, it may become easier to find a mentor who can see that you are serious about becoming a tattooing artist. Often the first step in the door means working for free doing mundane but necessary work around the tattoo shop, such as sweeping the floors and running the front desk. However, this is how people tend to start, and it gives an aspiring tattoo artist a chance to see how a shop is run, and in due time, a chance to work directly underneath a mentor tattoo artist.

It may not be the most efficient technique for producing tattoo artists, but it keeps the tattoo industry and tattoo culture something personal and close to the heart.