Figure 331.—Tattooing; elements of design (back). It will be noted that the wider bands working down from the pula tele (1) are two tafani (2, 3) and three saemutu (4, 5, 6). These are evenly spaced and have a fixed order, but they may be decorated with fa'aila motives. If the patient is tall it may be necessary to add a fourth saemutu to fill in the space. An analysis of the more decorative design in the figure is as follows:

(a) Between pulatele (1) and the first tafani (2) Serrated line (aso tongitongi) (1'), two lines (aso moelua) (2'). Serrated line (aso tongitongi) (3'). (b). Between first (2) and second (3) tafani. Six thin lines (aso laitiiti) (4'), (c). Between the second tafani (3) and first saemutu (4). One serrated line (aso tongitongi) (5') (d) Between first (4) and second (5) saemutu. Four thin lines (aso laitiiti) (6'), (e). Between second (5) and third (6) saemutu. Two serrated lines (aso tongitongi moelua) (7'). Below the third saemutu is a combination of two zigzag lines (fa'anufe moelua) (8') and a wider plain band (7) which are collectively referred to as the aso talitu. The aso talitu forms the end of the buttock design. Just below it is the solid tattooing of the thigh called lausae but just within the latter boundary are a few introduced fa'aila known as fa'aila tautau (9'). This brings us to the lower level of the gluteal area.