Skin - Ink - октябрь 2014

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October 2014 Issue 153

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eDiTors Comment
w w w. s k i n a n d i n k . c o m
very year when putting together the Year End Annual

edition of Skin & Ink magazine we are consistently
impressed, not with ourselves, but with the amount of
great art, interesting features and overall coverage of
the serious tattoo culture that is submitted to us from
artists, writers and photographers from all over the world.
Our job here is to mainly steer the shipkeeping it on course
and making sure its engine is continually being stoked with the
proper high quality editorial and pictorial content.
Sure we hit some rough seas along the way each year, but we
take those choppy waves and use them as a reality check. When
that bilge water starts backing up we use it as a sign that its time
to get our butts back in gear, our noses to the grindstone and our
minds out of the gutter.
However, based on the amount of material we needed to edit
down to get it to fit within these 180 pages, we havent veered far
off course too many times. Whether it be coverage of a tattoo convention in Russia, a visit to a NASCAR race or the discovery of a
tiny tattoo shop in
Nepal, the staff of
S&I find a way to get
there and bring back
the goods. Again,
thats testament to
our great staff, both
in-house and across
the world. Thanks
to everyone who
help make Skin &
Ink magazine the
number one tattoo
magazine in the
world year-in and
year-out!
Enjoy the look
back at a great
year.
Paul Gambino
Editor-In-Chief
On the Cover:
Samii
Photography:
Rob Brettschneider
PUBLISHER
Christopher Perretta
EDITORIAL DIRECTOR
Paul Gambino
MANAGING EDITOR
Dan Tullis
ART DIRECTOR
Frank Cafiero
CONTRIBUTING WRITERS
Nate Beavers, Vicki Botnick, Dana Brunson,
Jessica DeFeo, Marisa Kakoulas,
Lars Krutak, Travelin Mick, David Nestler,
Joann Natalia Aquino, Sam Paul,
Amy Sciarretto, Bill Waytowich
PHOTOGRAPHERS
Bernard Clark, Mary DAloisio, Peter Domorak,
Sean Hartgrove, Dan Howell,
Travelin Mick, Ama Lea, Isaac Madera,
Miss Missy, David Nestler, Steve Prue
COPY EDITOR
Nancy McCaslin
DIRECTOR OF PRODUCTION
Evan Honig
Phone (201) 843-4004 x114
Fax (201) 843-8775
PRODUCTION MANAGER
Fulvio Brito
ADVERTISING
Marty Puntus
(201) 843-4004 ext.113
mpuntus@enoblemedia.com
CIRCULATION DIRECTOR
TonyD@procirc.com
CONTROLLER
Fred Zott
EDITORIAL OFFICES
210 Rt 4 East, Paramus, NJ 07652
(201) 843-4004
DISTRIBUTOR
Curtis Circulation Co.
Skin&Ink (ISSN 1071-7684) Issue #153 October 2014.
Published nine times a year by Fox Run Publications, Inc., under
license from Azure Media Corp. Periodicals postage paid at
Paramus, NJ and additional mailing offices. Postmaster: Send
address changes to: Magazine Services, Dept. Skin & Ink, P.O. Box
9030, Fort Lauderdale, FL 33310. Subscriptions (one year) U.S.
$26.99, all others $59.99, All orders must be in U.S. funds.
Contents copyrighted 2014. All rights reserved. Contents may
not be reprinted in whole or part without prior written permission
from the Publisher. Return postage must accompany all manuscripts, drawings, and photographs if they are to be returned, and
no responsibility can be assumed for unsolicited material. All rights
to unsolicited materials, including, but not limited to, articles, photographs, cartoons, illustrations and letters sent to Skin&Ink will
be treated as unconditionally assigned for publication and copyright purposes and as subject to Skin&Ink's right to edit and comment editorially. The amount and time of payment, if any, for such
submissions will be at the sole discretion of the publisher. Any similarity between persons depicted in humor, fiction or satire articles
and real persons living or dead is purely coincidental. Fox Run
Publications, Inc.; does not endorse and assumes no liability for
any of the products or claims of service advertised in the magazine. Address all advertising materials to: Marty Puntus, 210 Rt 4
East, Paramus, NJ 07652 or mpuntus@enoblemedia.com.
Skin&Ink is registered in the U.S. Patent and Trademark office.
Printed in the Canada.
OCTOBER 2014
YEARBOOK ISSUE
OCTOBER 2013
10. Nepal by Peter Domorak
The land of ink and Buddha.
16. Tattoo Treasures with Dana Brunsona B
Fun in Philly:Part II
18. On The Road
by Mary DAloisio
Mystic Owl Tattoo, Marietta, Georgia
DECEMBER 2013
26. The NYC Tattoo Convention
Sweet 16 in the City
Article by Benjamin Cohen
32. Tattoo Treasures with Dana Brunson

The Elusive Edison Electric Pen.
33. Flash Contest
34. International Ink
Article by Razor Leary
Marc Reidman
On The Knifes Edge
40. Matt Ellis
By Nick Angelo
The artist behind Homeless Ink.
FEBRUARY 2014
49. Artist Spotlight
Sean Herman
Ink and Anarchy
58. GOING OVER THE TOP
Article By JJ Ignotz
The Quest for Brooklyns T Strongest Tattooed Arm

Article by Michael Nguyen
ANTONIO MACKO
Cholo Italiano
72. INK-N-IRON 2013
Photos by Steve Prue
Kustom Culture Vultures!
Special Features
79
Thein
Year
Centerfolds
93
The
Yearin
Artists
APRIL 2014
116. Letter From London
Article and Photography by Travelin Mick
This is the Big One, London 2013.

Cecil Porter
Great Pain. Great Art.
128. The Second Annual Pacific Ink &
Art Festival
By Miles Anderson
134. Flash Contest
JUNE 2014
136. Tattooers POV with Nate Beavers
A Sharp Dressed Pooch
Rember Oreliana
Fighting His Way To The Top.
146. Tattoo History
Article by Bill Waytowich
Vintage Body Suits of Japan

Article by Travelin Mick
Shige: The Best Tattooist In The World?
AUGUST 2014
24. Tattooers POV with Nate Beavers
Opaque Grey Vs Greywash
162. Tat Life
Photos by GiGi Elmes
Article by Richard Edson
John Youngaitis: The Last Taxidermist

166. Tattoo History
Article by Marco Annunziata
Bill Loika: The Professor and

Protge of Tattoo Peter
170. On The Road
Article by Mary DAloisio
Damon Conklins Super Genius Tattoo in Seattles Capitol Hill

177. Flash Contest
THE YEAR
IN COVERS
October 2013
Features: Nepal by Peter Domorak,
The land of ink and Buddha.
Tattoo Nation by Joann Natalia Aquino
Spotlights: Corey Miller, Chad Chases Venom Ink
On The Road: Mystic Owl Tattoo, Marietta, Georgia
Gallery Artists: Jay Paranich Jean Acevedo,
Josh Agnew, Marco Hengst
November 2013
Pin -Up Features: Alisa Marie, Emily, Miss Missy,
Nicole Knockout, Jellyfish, Samii laMorte, Meizy,
Traci Mize, Sarah, Heather Moss, Chelsey Mac,
Taylor Bryne, Karleigh Neal, Katy Delux, Amy
Dynamite, Amanda Pocalypse, Tattooed Brookie,
Rose Conway, Nicole Brown
6 SKIN&INK
November 2013
Features: Thailand Tattoo Madness, The festival known as
Wai Kru , Marc Reidman On The Knifes Edge, The NYC Tattoo
Convention, The story of Bicknee
Spotlights: Sarah Miller, Mace and Altered Reality Tattoo
On The Road: True Til Death Tattoo, Ashtabula, OH
Gallery Artists: Julie Clarke, Sophie Boon, Joe Swider
June 2014
February 2014
Features: INK-N-IRON 2013, Going Over The Top,
INKARNATION: Tattoo & Lifestyle
Spotlights: Antonio Macko: Cholo Italiano,
Sean Herman: Ink and Anarchy
On The Road: Tim Becks:
Freedom Ink Tattoo Company
Free 2014 Celebrity Portrait Calender
Gallery Artists: Blueprint Gallery, Kali Boy, Travis
Litke, Waylon Harp
Features: Ink Bash,

Stockholm. Shige,
The Best Tattooist
In The World?
Asheville Tattoo
Fest, Tat Life,
Vintage Body Suits
of Japan
Spotlights:
Rember Oreliana,
Umbrella Ink
Tattoo
On The Road:
Golden Lotus
Tattoo Studio
Free Mini Mag:
PROFILES in
BLACK and GREY!
Gallery Artists:
Troy Clements
James Mullin
Ian McCalister
August 2014
Features: 6th Annual Moscow Tattoo Convention, Bill Loika: The
Professor
and Protge
of Tattoo
Peter, NYC
Tattoo
Convention,
John
Youngaitis: A
Dying Breed
Spotlights:
Dustin Yip,
Mark
Longenecker
On TheRoad:
Damon
Conklins
Super
Genius
Gallery
Artists:
Jonathon
Anderson,
Danny
Frost,
Ricardo
Pedro
April 2014
Features: Travelin Mick, This is the Big One, London 2013,
CHAIM MACHLEY Dots To Lines, Nascar Sprint Cup Series,
The Second Annual Pacific Ink & Art Festival
Spotlights: Cecil Porter: Great Pain. Great Art. STUDIO 13 TATTOO
On The Road: Josh Paynes: Ascend Gallery Tattoo
Gallery Artists: Dan Henk, Alan Aldred, Kurt Elkins
SKIN&INK 7
INK AROUND THE WORLD

NEPAL:THE
OF INK
AND BUDDHA
Letter FromLAND
KRAKOW
2010
s I sat in the small caf somewhere in a back street of Pokhara all I
could think about was the one sentence of guidance my editor had
uttered to me before leaving New York, If it has anything to do with
ink, shoot it.
My main focus was planned photography as I like to call it. Not just random shots of locals on a street but preplanned, chosen subjectssubjects
who agreed to being photographed. So there was that sentence, scrawled on
the first page of a notebook I had entitled what to shoot. Below were a few
other projects, but I knew I had to concentrate on the tattoo project soon
because time flies in the country of Buddha.
While sipping my tea, I was interrupted by my waiter. Somebody was calling to me. I thought it would be my friend who I was waiting for. However, I
glanced in the direction my server was pointing and all I saw was an older
gentleman sitting on stairs that led up to the first floor of offices of a run
Article and photography by Peter Domorak
There...I
canhad
be noto
doubt about it,
concentrate
Krakow is and will
on the tattoo
remain one of the
project
soon
definite
highlights
time
ofbecause
the European
flies
in the
convention
circuitcountry
for loversof
of tattoo
art.
Buddha.
10 SKIN&INK
HARI
down commercial building. He repeatedly
waved at me, yelling something. But even the
waiter couldnt hear the words. I told the
waiter I didnt know him! I thought it was
just another local wanting to sell me something. Hawking cheap souvenirs to a tourist
is a national sport in this section of Nepal.
Then the server said to me in broken
English, Maybe you got a tattoo there? That
man is a tattoo artist. My jaw dropped. By
that time, the mysterious guy who had been
waving had gone to his office. I took a closer
look. It was indeed a tattoo studio, and he
was working on somebody.
But this wasnt first time something like this
had happened here. Its something pure in
that country; its in the air. Maybe a person is
closer to God, to Buddha, to anything you
SKIN&INK 11
GRASSHOPPER
believe in; or maybe it is because of the height of the Himalayas or being closer to the
clouds where deities dwell. But you could feel very oftenoften enough to freak you out a
bitthat here your wishes can come true.
So, I closed my notebook, looked at the words If it has anything to do with ink,
shoot it. and I went up to his studio across the roadcrossing the street after I let
the cows pass, that is.
His name was Hari. He is the one master in Pokhara. And Hari thought that I had
been one of his clients the night beforea young white boy, with long hair like mine,
wearing glasses. In NYC just another face, here in Nepal, one-in-a-million. The introduction was quick. I explained my diary notes quickly and, after everybody in the room
agreed on being shot, the next thing that had to happen was to take the lens cap off. Hari
12 SKIN&INK
was working on Ozzy from Australia. The tattoo was the four elements, written in Nepali. As I sat in the studio drinking more tea a steady stream of Haris
customers wandered in and out. A young man named James came in and
explained his passion and interest in religions. Hari came up with an amazing
piece that included symbols from all religions, some old and some unheard
of, that were interwoven into the graphics.
Everyone was more than happy to have their portraits shot and I had my
SKIN&INK 13

first sample shots to show other potential tattoo
models here in Pokhara. Before leaving, Hari
gave me the address of Master Mohan, a tattoo
artist extraordinaire who had the oldest shop in
Kathmandu.
The next day I hailed a cab, handed the driver
Mohans address and not ten minutes later found
myself outside Mohans tattoo parlor. Mohan
was ready to meet with me and could not be
more friendly. Mohan prides himself as much a
teacher of the art of tattooing as a tattoo artist
itself. A lot of people get tattoos, and a lot of
people make tattoos. But not many know how to
LADS
do itproperly, safely, or hygienically declares
Mohan. He goes on to say that he wants them
to continue the craft they love, but to do it with at least the
basic knowledge of their tools, hygiene and safety. Mohan
started the first tattoo convention in the region, the NEPAL
TATTOO CONVENTION, and has proven to be a pioneer who
cares not just about his own studio but about educating the
next generation of tattoo artists.
The photos were easy. Mohan first; then Mohan working on
John, the traveler from California who was living in the
region for a while. The people couldnt have been nicer.
Mohan called a few friends to join us and show off their
MOHAN
pieces, and he allowed members

of his team to pose as well.
Everybody wound up getting into
the pictureshis son, his dad
and his lovely wife.
Now that I had Mohans sample
images on my iPhone, there was
no stopping me. My next stop
was Jads tattoo shop, owned by
John and Aath. Again more
Nepalese tea and conversation.
They knew Mohan, of course and
had attended the convention. In
fact, they both had won prizes for
their best pieces at the last show.
Their studio was an amazing
homage to rock n roll. Guitars,
music inspired artwork and giant
speakers hung from the walls. Only
to be accented by the roar of heavy
metal music.
My last stop in Kathmandu was
Grasshopper, to visit with artist
Nakul and his girlfriend Zen. Zen
does dreads and hair pieces in
addition to Nakuls ink work . She
likes to invite tourists into their
shop, too; and she answers their
questions about local habits, places
to go, prices, and tippingall
14 SKIN&INK
things a tourist needs to know. Nakul has worked in Kathmandu

a shorter time than Mohan. He came from the Lumbini area and
from the city where Buddha was supposedly born. He moved to
Kathmandu because he had more opportunity to get clients and
have his business grow. Nakul loves his work, believing it is a
dream job that is coming true for him because he has been able
to have his own studio and he can do what he wants.
All of the people I met were amazing. Their tattoo images are
from a different continent, and they truly reflected a different culture. If you ever want a mystical-motivated tattoo, youll be in
the birthplace of all of that in Kathmandu and you will have a
tough time choosing your artist. And if you get to Pokhara, go to
Haris where you will get a great tattooand a lovely cup of
Nepalese tea, too.
mohan:
http://www.mohanstattooinn.com
jads:
http://jadstattoos.com
grasshopper: http://grasshopperstudio.blogspot.com
hari:
https://www.facebook.com/H.Mandala
SKIN&INK 15
TATTOO TREASURES with DANA BRUNSON

FUN IN PHILLY: PART II
recently wrote about Les Skuse, Jimmie Skuse , the
Bristol Tattoo Club, and the upcoming Philadelphia
Convention. This is a follow up of the whole experience.
As a collector, talking and sharing with other collectors
is always great fun and a learning experience. The history is as important as the collectable item itself.
...and you
have four
members
who own
the
coveted
Edison
Electric
Pen.
16 SKIN&INK
This year was truly historical at

Troy Timpels Philly Convention
due to the fact that the Bristol
Tattoo Club (est. 1953) was making its first appearance in the
United States since founder, Les
Skuse, visited in 1956. Just the
history of the members of the BTC
is astounding, with past members
Paul Rogers, Huck Spaulding, Milt
Zeis, Sailor Jerry Collins, Al
Schiefley, D C Paul, and others
being the whos who in tattooing.
All sorts of stories and artifacts
are shared among members.
Jimmie Skuse (Less grandson) ,
his wife Jackie, and Rambo, an artist /mega-collector,
attended this historical event upon their first visit to the
United States.
There is a collectors subgroup in the BTC, of which I
am proud to be a member. In this group you have the
heavy hitters in the tattoo collecting world. Rambo, from
Manchester, England, has a collection which easily rivals
the best in the world, and you have four members who
own the coveted Edison Electric Pen. At the convention
one of these Edison pens was on display thanks to Dano
Collins and Le Dan Peace proudly displayed his beautiful
collection of antique machines , including a rare
Coleman. Both are proud members of the BTC. At lasta real

convention full of history and
wonderful artifacts of our business proudly displayed for all to
appreciate.
Jimmie Skuse sold out every membership
certificate he brought with him. How great it
was to see this renewed interest in the Bristol
Tattoo Club. In this day of New School the
Old School took a stand to give new life to tradition. Stan Moskowitz, Crazy Eddie Funk, the
Peace family, along with members old and new,
checked out all the cool tattoo collectables, and
they shared stories of their personal collections. This was the biggest event in past history
that gathered, under one roof, so many collectors, great collectables, and artists interested in
the past. A few items were traded, as real collectors never sell, but are sometimes willing to
trade to get that elusive must have. If you
love the history of tattooing , check out Fans of
Les Skuse and the Bristol Tattoo Club on
Facebook or, better yet, join Bristoltattooclub@live.co.uk.

History is free and thats a great thing for any collector.
Rambo and I struck a deal for a trade which left both of
us content at least for the moment.
My next article will be on the amazing collection of
Rambo of Manchester and the rarest of rare items that he
possessesexcept for the one I now have HaHaHa.
See ya in the funny papers. Keep your hat on so Ill
know ya.
Dana
www.danatattoo.com
danatattoo@fuse.net
Deeply personal, unapologetically distinct, strong and confident.
Controse pieces are rich in symbolism, and in style, allowing

the raw beauty of the metal and stone tell a story t h r o u g h
i t s s h a p e s and colors. We produce our fine jewelry
in an eco-friendly manner, using only 100% grade 316L
surgical stainless steel to ensure o u r j e w e l r y r e t a i n s
i t s beautiful luster.
Shop online at www.controse.com
By M
ar y
MYSTIC OWL
his month Skin&Ink traveled down south to the land of

peaches and pecans in North Georgia to visit Tara and Vince
Villavazos Mystic Owl Tattoo in Marietta, Georgia. Just
northeast of Atlanta, Marietta sits in the cool shade of historic Kennesaw Mountain and is famous for KFCs big chicken
which (incidentally) is right around the corner from the big-league
tattoo artists assembled at Mystic Owl Tattoo.
The spacious and open studio is relatively new to the area, but it is
making big waves.
Vince has always aspired to open his own studio. He wanted to
provide a creative environment for himself and like-minded artists
where we could create tattoos and art of various media. Our goal
was to open a studio where we could provide local, national, and
international clients with high quality tattoos and piercings in a clean
and relaxed environment, said piercer and co-owner Tara Villavazo.
Mystic Owl is getting ready to celebrate its third anniversary of
doing just that. Along with tattoo artists Jace Masula, Mike
Bugenhagen, Ryan Willingham, and Taylor Anne, Tara and Vince
Villavazo have been meeting the local demand for art-minded tattoo work.
18 SKIN&INK
DA
lois
io
TATTOO
Marietta, Georgia
We are a full custom studio that provides a wide array of art

styles; this is rather unique in the Atlanta scene of flash and
trendy traditional studios, said Tara. We are open seven days a
week from 11 a.m. until 10 p.m. Our daily life is rather relaxed;
we are a drama-free studio. Everyone stays very busy. They are
either tattooing or working on other art in between appointments.
The Eternal Ink-sponsored shop stays dedicated to serving its
local clientele as well as out-of-town clientele and hosting a full
schedule of top-notch guest artists.
Travel is very important; we do many conventions year round
and routinely have some of the nations top artists do guest
spots at MOT. We participate in various art shows throughout
the United States. Typically the art shows are hosted by friends
and various charities.
As the Mystic Owl Tattoo team racks up awards and recognition, the key to their success comes from within. Longtime
friend Jace Masula was on board before the shop doors were
opened. Mike Bugenhagen and Ryan Willingham joined later, in
2012. The first Mystic Owl apprentice, Taylor Anne, just gradu-
Mike Bugenhagen
SKIN&INK 19
On The Road
Vince Villavazo
Vince & Tara

20 SKIN&INK
Mystic Owl
Ryan Willingham
On The Road
Jace Masula
22 SKIN&INK
Mystic Owl
Taylor Anne
ated to a full-time tattoo artist in January 2013.

The group stays together and plays together,
with regular bowling nights and by frequently
bouncing ideas off each other.
We are constantly pushing each other and
feeding off the creative energy of one another. I
feel it is apparent in a lot of the artist progression at the studio. We have also done collaborative tattoos together, said Vince Villavazo. I
like that we have a great sense of unity.
Whether we are tattooing, drawing, or cleaning up around the studio, there is a great
sense of teamwork; we
truly have a family.
Keep up to date on the
all-star work going on in
Marietta or visit them
online at
mysticowltattoo.com.
SKIN&INK 23
presents
And now for

something
completely
different!
Join An Elite Line-up of

Tattoo Artists on A
luxurious cruise ship
sailing To gorgeous
Caribbean
ports for The
most Amazing
TATTOO
VACATION of
All Time!
CELEBRITY
ARTISTS!
Each Ink Or Swim Guest will receive:
Access to the Ink Or Swim Tattoo Alley and booking time with the
artists $100 towards booking tattoo time Opening night cocktail party and meet-n-greet with the artists Dance Party with
celebrity tattoo artists Private margarita party at Cozumel
Mexico Tattoo and Bikini contests Burlesque and Sideshow
entertainers Professional photo portrait Gift Bag of tattoo and
cruise related goodies Exclusive Ink Or Swim t-shirt
Ink Or Swim Guests have FREE access to all of the

Ship's regular (but not ordinary) features:
Newly Renovated Luxury Cruise Ship rooms 10 Pools and
Whirlpools Surf Simulator and Rock-Climbing Wall
Eat for FREE at many of the 9 different restaurants and
cafes Broadway-style Musical Theater Show Las Vegasstyle Casino 22 Bars, Clubs and Lounges Plus Many
Other Luxury Features
For cruise dates, artists, itinerary and rates INKORSWIMTATTOOCRUISE.COM
Article by Benjamin Cohen

Photography by Dan Howell
and Steve Prue
he sign on the Roseland Ballroom marquee reading NYC Tattoo Convention is like the Bat-signal in the night sky
of Gotham City. The marquee beckons tattoo fanatics from around the globe to drop anchor in the City that Never
Sleeps for three days each May to stand side-by-side with the worlds top ink-slinging masters, the most serious collectors, and the living legends of the tattoo industry.
For the tattoo community, this show is a must-see event, and the expo billed as the Original New York City Tattoo
Convention held its 16th annual gathering May 1618, 2013, on what was a typical hot and humid Northeast spring weekend. However, what went on under the Roseland roof that weekend was anything but typical.
All the proof you need that this is a highly regarded convention the world over could be found by strolling the aisles to see
artists from the earths four corners working ink into the skin of happy attendees. South Koreas tattooer extraordinaire Kahn,
who shared a working area with S&I Artist Spotlight alum, June Jung, had a crowd of onlookers and waiting clients surrounding his booth the entire weekend. The Horitoshi Family occupied its usual upstairs section of the venue. Seeing the
work that emerges from this camp each year is a show onto itself, and this years inked creations at the hands of Japans
first family of tattooing were some of the best weve seen yet. Boris of Hungary always turns out something spectacular at
the New York show, and this year was no exception. We also found time to catch up with Australias Sean Vasquez, as he
made his yearly pilgrimage to the Big Apple.
Other countries represented at this years NYC Convention included Italy, Spain, Brazil, Taiwan, Germany, and France.
26 SKIN&INK
American artists who experienced very little downtime over

the course of the convention included Paul Booth, Jack
Rudy, Megan Hoogland, the crew at Long Island, NYs Da
Vinci Tattoo, and Kevin Wilsons hometown shop, Sacred
Tattoo.
One of the highlights of the entire weekend for me was the
chance to meet and spend some time with Skin&Inks own
Dana Brunson and his wife Dorothy. It was not easy to get
some alone time with the Mr. Brunson, as so many attendees
Chris Longo holds court.
and industry personalities wanted a moment with one of
Americas top tattoo memorabilia collectors. I did get some
time with Dana and took the opportunity to thank him for his contribution to our magazine. Dana took the compliment in his usual humble manner and told me to let everyone
know that they can expect to read about some pretty amazing stuff in his upcoming Tattoo
Treasures columns.
The NYC show has built its reputation on being a very tattoo centered convention.
There is no question that the ink comes first at this show. At the same time, this convention does come with some exceptional entertainment. Tattooed sideshow freaks entertained
the masses from the main stage with acts of suspension, snake charming, and suggestive
doings with balloons.
As for Skin&Ink and our participation in the proceedings, we were there to capture all of
the fun, excitement, and screaming ink for
our readers. From our main floor booth we
gave out magazines and searched out subjects to whisk down to our shooting space
in the lower level. Once downstairs, subjects
Angelica
were invited to show as much ink as they
felt comfortable bearing for the camera, and
future coverage in S&I will feature New Yorkers and those
in the New York groove who were proud to put their body
art collections on display for our pages and for the
crowd of spectators who witnessed the action in
our shooting space.
The New York Tattoo Convention was also an
official stop on the first annual Inked
Up World Tour. The tour enlists top
Dorothy and
Dana
Brunson.
Paul Booth
SKIN&INK 27
artists to design their own Rockstar

Energy Drink can. The twelve selected designs will then be entered into
a competition where fan will vote to
determine a grand prize winner. The
festivities also entailed a Miss Inked
Up 2013 Contest. To be honest, Im
not really sure which of these beautiful ladies in Inked Up t-shirts will
win this competition. What I do
know is that we were able to shoot
with all of them in our downstairs
shooting space, and they all looked
like winners to us.
28 SKIN&INK
June Jung
Other contests at the NYC show were all of the tattoo variety, and, as could
be expected, the competition was fierce and wide open. Tattoo of the Day honors went to the following artists: FridayGreg Lee, SaturdayMark Thiemig,
and SundayJeremy Miller. The Best Overall awards went to these tattooers:
First PlaceAsakusa, Second PlaceDavid Prieto, and Third PlaceJesus
Ayala.
Lalo and friend.

30 SKIN&INK
The New York City Convention is a one-of-a-kind experience. For Skin&Ink,

its always an honor to be invited to come by, set up our cameras, and document the ink of some of the most hardcore collectors of the body-mod sect.
For info on whats cookin for next years NYC Convention,
visit nyctattooconvention.com
Richie Magic
SKIN&INK 31
TATTOO TREASURES with DANA BRUNSON

The Elusive Thomas Edison Electric Pen
s a tattoo collector, I have an array
of tattoo memorabilia, banners,
flash, photos, cards, and of course,
tattoo machines. It seems that many of
the other collectors focus mainly on
machines, making them even more difficult to obtain. I have lots of early
machinesWaters, Wagner, and Barber
to name a few. But, as a collector you are
always after the one you dont have. In
my case, that is the Thomas Edison electric pen.
The Thomas Edison electric pen is coveted by tattooists and Edison collectors as
well, pushing prices from $8,000 to
$12,000. There is a small and elite group
of owners of this device among tattoo collectors (you know who you are out there!).
Edison patented this
machine in 1876, as a
means to make multiple copies of documents. It came in a
duplicating kit, was
powered by wet cell
batteries, and was one
of the first electric
appliances in
the United
States. It
achieved
some success
until the
invention of
the typewriter,
which made it
obsolete.
The connection to the tattoo industry is
that the pens
design was modified by tattooist Samuel OReilly in 1891,
making it the worlds first electric tattoo machine. Prior to
this invention, tattooing was done by hand in a slow and
painful manner. OReillys invention gave birth to a whole
new industryelectric tattooing.
Now, as sad as it is not owning an Edison, I find comfort in a recent acquisition. Rambo, a friend and fellow
collector from Manchester, England, recently visited me.
Rambo brought with him a machine that we both feel
could also be a major contributor to electric tattooing.
Patented one year before the Edison, in 1875, the SS
The
Thomas
Edison
electric
pen is
coveted by
tattooists
and Edison
collectors
as well.
White dental mallet bears

a striking resemblance to
our modern machines.
The White machine has
been overlooked by tattooists until recently,
when a book about
Professor Eddie Poferl
shows an SS White
Machine in his tattoo kit.
Professor Charles
Wagner, tattoo artist and
inventor of the inline coil
machine, is also seen
holding one of these
devices in an early Kobel
photograph. I wonder if
this design could have
been Wagners inspiration
for his Machine design.
Tattoo history is blurry
at best, so no one will
ever know for sure which machine came first to be used

by early pioneers in our business. Rambo and I haggled
for days over this machine, with me becoming the new
owner in the end. So, until the Thomas Edison electric pen
is in my hands, I will be content to own the rare SS White
machineat least for a while
See ya in the funny papers. Keep your hat on so Ill
know ya.
Dana
www.danatattoo.com
danatattoo@fuse.net
3
1
0
2
R
E
B
DECEM
!
R
E
N
N
I
W
1st Place:
Jeff Saunders, Mean Streets Tattoos, Bensalem, PA

Facebook.com/effjay.aundersay
2nd place:
Kaloian Smokov, Smokov Tattoo Studio,
Sofia, Bulgaria
arc is a very unique and highly controversial artist who

began his journey into body modification in as raw and a
primal manner as anything we have ever witnessed. A life-long
outsider, Riedman has no interest in being part of the tattoo artist
society. His philosophy, approach to the art, and an often misunderstood nickname do very little to ingratiate Riedman to the mainstream, and thats just the way Marc Riedmann wants it.
S&I: Youve said that your earliest experiences with body modifications was scratching ornamental designs into your skin with
a Swiss army knife. Looking back, do you believe that was an
act of rebellion or just another form of artistic expression?
MR: I think kind of both. And for me it was also about the modification experience itself.
S&I: The first ink work you ever applied to your body was done
as a teenager with hand-poked needles and machines made
from clippers and LEGO blocks. Couldnt you have just snuck
out of the house and gotten a professional tattoo? Why were you
so hell-bent on the diy method?
MR: I was a f-ing child, and there was no way to go to a professional studio and get tattooed. The only way was to make it myself.
MARC RIEDMANN
On The Knifes Edge
But I made most things in my life myself; I love the experience of trying to do stuff on my own.
S&I: When you finally made a commitment to embarking on a career as a tattoo artist, you continued on the
self-taught route. Were you unable to get formal training, or did you prefer not to seek training from more
experienced artists?
MR: I never planned a career as a tattoo artist. I just started
tattooing myself to get more ink. Then I tattooed friends, and
it started to get out of control. I was working a few days a
week in studios and saw that I wasnt learning much that I
hadnt already figured out myself. And the way to learn stuff
yourself is to keep working and growing as an artist. Find the
best techniques that work for what you want do.
S&I: You have a very distinct style because you work very
different themes into the same piece. Do you do this to call
attention to how different styles work together? Or, is it
done to illustrate the stark difference in the styles?
MR: I like contrast; I like to play with super sketchy shit.
34 SKIN&INK
Marc Riedmann
Maybe start with images that may look like some child has painted it on
someone, and then I like to go into that same piece and add another
level or layer that is a geometric pattern. A pattern that may be the
exact oppositeor even complimentary. I like to get themes from my
customers that may run away from my typical stuff. I love to create
something out of that, but in my own way.
S&I: Your multi-person backpieces are amazing. What are the
major challenges in both designing and inking these creations?
MR: When I first started making backpieces I was amazed by how
much skin I have to work withI mean, plain skin in one piece without much deformationand I loved it. So a backpiece was always
my favorite piece to do, and after some years I decided to just do
backpieces. Sure, for the people I have done backpieces for, I will
always continue working on other parts. But, for new clients, a backpiece is the only way to start with me. I have no idea how many backpieces I have done or worked on, but after a time I got this idea of
going bigger. So, I included the arms, and out of this I was thinking
how crazy it would be to put two people together and make a backpiece over them. I had this idea, I think over three years ago, and I
waited a while to find someone to do it on. I finished my first double
in the beginning of 2012 and started six more double pieces that year
after I published pictures from the first one. Soon after I made a
threesome, and now I have just completed one tattoo that spans four
people. It just pushes tattooing to another level for me, going that big
and that radical. I dont know where the borders are for whats possible. A few years ago I was dreaming about doing a double backpiece.
Now, to cross new borders means there is new space in my mind for
new dreams.
S&I: Its obvious that the art you create on skin is not only amazing
in its own right but is a brand and style of tattooing that is all your
own. How important is it for you to go places with your tattooing that
no one has gone before?
MR: Its not about what is important, it just runs. Many years ago I
started tattooing radically over nipples and navels as if they were not
there. Working the design against something, I see a nipple as a nail in
a wall. You would also not change your picture or put a hole inside it
36 SKIN&INK
because its a nail, and you wouldnt draw lines to separate body
parts. I never was influenced too much by the outside tattoo world. I
just try out whatever comes to me. The more freedom my customers
gave me, the more I came around to what I make these days. And
the more I was making what I had in my mind, the more people
became interested.
S&I: Some of your tattoo work
looks like painting, some looks
like ink drawing, some looks
like water colors, and some
looks like charcoal sketching.
How in the world are you able
to create all of these effects
with tattoo machines?
MR: Most of the effects I use
are effects I can only make with
a machine. I dont try to imitate
this or that. The shading I use is
kind of a super rough, rip shading. Everything comes and goes
with what your tools are. Its the
same as with painting. I love it
when my tattoos dont look like
tattoos anymore and people are
asked if its actually painted on.
S&I: When you sit down to
design one of your large
pieces, how much time and
preparation would you say
goes into creating the final
images and designs that will
go onto skin?
MR: No time. I plan nothing.
People come to me and know
thats how I work. I sit together
with them, speak a bit, and figure out what they like and dont
like. Out of that, I start freehand
painting on their body, so I can
work with the anatomy and the
shape of the body and know in
what kind of direction Ill go.
SKIN&INK 37
Marc Riedmann
Everything just happens. A backpiece takes

three sessions, and mostly I work part by part.
So even after the second session people cannot say what happens next, because I dont
know.
S&I: Aside from working with electric
machines, you are also trained in hand-poking methods. How does the fulfillment you
get as an artist compare when you use
hand-poking as opposed to the electric
machine method?
MR: Most techniques I use would not be
possible to do by hand. Also, the way I tattoo
is not possible to do by hand. I like to paint on
a body. I like to make big tattoos. My
approach to tattooing is really fast. So, to
work in that style I need to use an electric
machine. I do like working by hand as well.
But, for my present style, electric works best.
S&I: Having the nickname, Little
Swastika is very controversial. Why would
38 SKIN&INK
you invite trouble for yourself by choosing such a name?

MR: You do not choose a nickname; it just happens. Im not scared
of trouble or whatever. I do not care much about what people think.
S&I: On your website. you explain the original meaning of this
symbol and make it clear that you are not affiliated with any Nazi
movement. Having said that, has there been any backlash having this nickname?
MR: It is what it is. I didnt think it would have an effect on what I
made or why people would come to me for tattoos. When people
are so mind-boggled that they stamp me as a Nazi, I dont want to
tattoo them anyway. So, I just dont care about those people. I just
made it a point of reclaiming the swastika. If you want to know what
the symbol means, you should do some research.
S&I: You have also said that you dont want to be a part of society and that tattoos have been part of your staying outside of
whats normal. Has the meaning of tattooing changed in your
life since the art has
become so mainstream?
MR: For myself, no.
A few years ago I felt
that tattooing was
becoming a fashion
so I decided to close
my shop. I have now
decided to go back
working in a more
private atmosphere
without walk-ins or
other crap. I just try
to be far away from
what is happening
with tattooing right
now. I see nothing positive behind it in any way.

S&I: Its important that an artist continues to stay inspired.
Where do you get your inspiration for art these days?
MR: Life. Just life.
S&I: Can you talk about some of the art you work on outside of
tattooing?
MR: Last year I made my first book. It consisted of 108 paintings
that I did from 20052009. And since 2009, I have been working on
a book about Tibetan art and geometric patterns. I have some more
book projects which I want work on in the next couple of years.
And, maybe start this year with some art exhibitions and move
away from tattooing.
S&I: Do you get the same feeling of excitement working on canvas that you do when putting art on skin?
MR: Skin is a really a limited medium. For the art I like to make, I
can do much more on a canvas than on a skin. I try to see the body
as much as I can as a different medium. Thats
why I have started putting people together to work
on full-body tattoos.
Marc Riedmann little-swastika.com
SKIN&INK 39
Matt Ellis
less Ink
Home
ew York tattooist Matt Ellis isnt afraid to color outside the lines and push the limits of the skin art medium. Ellis has been tattooing for 12 years, and currently splits his time between Lark Tattoo in Westbury, NY, and
Triple Diamond Tattoo in the Park Slope area of Brooklyn.
A graduate of New Yorks famous Fashion Institute of
Technology, Ellis is also an accomplished painter and photographer. At the present, the artist is working on a very unique
tattooing project that is redefining beauty, and is shining a
spotlight on one of our societys most overlooked problems.
Its called the Homeless Project, Ellis explains, and its a
project that I have been working on over the past three years.
The Homeless Project was born when Ellis was living and
tattooing in Florida.
40 SKIN&INK
By Nick Angelo
There are a lot of homeless people in Miami Beach. I

wound up becoming friends with a lot of them. After
becoming their friend and spending a lot of time with
them, I started taking their pictures and making paintings
from the pictures.
About three months ago Ellis began bringing his skills
and artistic flair as a tattooer to the Homeless Project. The
idea was to tattoo these portraits of homeless individuals
onto skin. Ellis initially wondered if he had set his sights
too high by expecting people to accept the portrait of a
homeless stranger into their ink collection. However, the
availability of living canvas to participate in the Homeless
Project has not been an issue.
I thought in the beginning that it would be a struggle. The
SKIN&INK 41
People ask me why someone would want to put a portrait

of a homeless person on their body. But its the same thing.
The people who get these tattoos see the homeless person
as someone beautiful as well.
The project is also about the artist building a relationship
with the homeless subjects themselves. This isnt about
walking up to random unfortunate souls and asking if they
want to be involved in a tattoo art project. Ellis spoke of what
leads up to the portrait creation.
To me there is a process to it, and that process is
extremely important to my artwork. Ill walk the city with my
camera and Ill approach homeless people and ask if I can
take their picture. If they say yes, Ill sit down with them and
give them an explanation of what Im trying to do. Some
understand right away and they get it. Others dont get it at
all. Sometimes the person will ask why I would want to take
a picture of them instead of some fashion model or someone
that our society sees as beautiful. Thats when I explain
about the beauty I see in them. And I dont sit there and
first one I did was on a friend who knows me well and would
let me tattoo anything I wanted on him. I told him about the
project and he was stoked. I posted that piece online, and
then I heard from someone else that wanted to hear about
the project. They found the idea interesting and they were
intrigued. I didnt have to sell them on the idea. And it has
just grown and other people started approaching me. They
understand the idea and my passion for it, and they see it as
something positive.
To those of you who think the idea of an ink collector welcoming a portrait of someone they never met before onto
their skin is strange, Ellis challenges you to reconsider.
In our tattoo society were tattooing portraits of famous
people, actors, and characters from horror movies on a regular basis. These are people the collectors have never met, but
find them beautiful and they put them on their body.
42 SKIN&INK
SKIN&INK 43
person, its just a piece of paper that is warm and

something they use in a completely different way. So
what I have done, specifically for the homeless project, is research different news articlessome of
them deal with homeless issues, others deal with
current events, some are stories on the wealthiest
people living in New York, some are on corruption.
Then I pull sections of the article and re-piece them
together, and I omit certain things. And I show you
what I want to show you just in the same way the
newspaper does with us. They omit things and only
give us parts of the stories. They take things out of
context, and Im doing these same things with this
project.
The Homeless Project continues to grow and
evolve. And though Matt Ellis is not exactly sure
where this train is headed, he continues to push forward at a slow and steady pace. One thing the artist
would like to see as the project grows, is a larger
role for the homeless subjects themselves.
This project just continues to evolve, and there are
things Id like to do with it that include raising more
awareness of the homeless situation in our society.
interview them. Its more like I am hanging out with them.

Eventually, I will take out my camera, and I never ask them
to pose. I just start taking shots as we are interacting, to capture the moment between us.
Another element to the portrait is the text that is worked
into the tattooed image. The text is taken from newspaper
articles and deliberately manipulated into the artwork.
Even a lot of the other artwork that I have done has a lot
of symbolism and meaning. So one of the things that I use in
my artwork, that I am also using in this tattoo project, is
newspapers. The reason for this is, in our society we use
newspapers in a completely different way than homeless people. Newspapers are filled with full-page ads for Gucci and
other things for sale from big companies. For a homeless
44 SKIN&INK
Ive begun reaching out to a homeless organization about

something. I dont want to go into specifics because none of
it is concrete. But its about getting the homeless people
themselves more involved, maybe even including some of
their artwork as well. There is never any set end game to
my art. It just evolves and I like to see where it goes.
Ellis began this work as a photography and painting exercise, but he wants to make it clear that tattooing is now the
major element in the Homeless Project.
I dont want to downplay the importance of tattooing with
this project. The tattooing is the art, its the basis of the project. Tattooing has come a long way, but I still believe there is
a line that exists between tattooing and art. And I want to
help remove that line. Id love it if you could go to the
Museum of Modern Art and see tattoos. Tattoos should be recognized

as art just as much as a Picasso is.
Though the Homeless Project is
a portrait-based endeavor, Ellis
doesnt consider himself a specialist in the portrait discipline of tattooing, or any other particular
style for that matter.
As far as being a tattoo artist, I
would not consider myself to be a
portrait artist. I guess you might
say I have a specific style, but my
work varies a lot. I like working in
many different styles; for me its
experimentation. But with portraits,
theres so much you can see in a
persons face their struggles,
their feelings, and emotions. I am
intrigued by that. Ive always been
fascinated by how much you can
see in a persons eyes.
If you would like to keep up with
the evolution of the Homeless
Project visit mattcellis.com/.
You can also email the artist at
Contact@mattcellis.com.
SKIN&INK 45
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4/14
ARTIST SPOTLIGHT
Sean
eH rman
Article
by Miles
Anderson
y
h
c
r
a
n
A
Ink &
T
he Royal Street Tattoo shop web site describes tattooer Sean

Herman as a man who was born moving. This self-proclaimed anarchist had a hunger for knowledge and a need to
express himself creatively from an early age.
Extensive traveling and unique life experiences have helped mold
Herman into an artist possessing a style of tattooing that is unmistakably
his own. Asked to put a label on his art, Herman refused to take the bait.
Honestly, I just really love tattooing, said Herman. I love the ability to
give the clients the tattoos they want, so I wouldnt say that there is any
one field that I specialize in. Like any tattooer, the subject matter that I tattoo frequently is something I am comfortable with, but I like to be taken
out of my comfort zone. This happens quite a bit. Most of the time I have
clients unknowingly challenging me to draw something or do something
completely different than I might have a few years ago.
What is clearly identifiable in Hermans inking style is the sharp color
contrasts and shadow work. Most artists who bring that kind of understanding of art theory and attention to detail into their tattooing have a
48 SKIN&INK
strong background in other mediums; this is another rule to

which Sean Herman is an exception.
Unfortunately I dont have any art training; I have learned
everything through tattooing. I would say that look comes from my
love of comic books. When I was young I would sit and redraw
tons of different characters, sometimes just pages of different facial
expressions. That influence has caused me to tattoo in a similar
way, where I do the lines and black in a

tattoolike a pen and ink drawing for a
comic. For me, if I have that structure
there, and it looks good, color is just the
icing on the cake.
Presently Sean Herman tattoos back in
his home state of Alabama at the Royal
Street studio. Herman describes the
Royal Street crew as being great tattooers
as well as friends. The shop stays away
from getting into competitions with other
ink houses, and Herman says the door is
open to anyone who is respectful of the
art who wants to stop by and hang out.
Switching the subject to what keeps
Sean Herman busy when hes not putting
masterful works of art on skin, he shared
that (at the time of our interview) his wife
was only weeks away from giving birth to
a daughter. With fatherhood looming, Herman has cut down on his
traveling and convention appearances. He does, however, continue
to do guest spots at Doy Gardners and Josh Woods Black 13 Shop
in Nashville, TN. Herman is also working on a book of stories that
he has been putting together over several years.
Being that its not every day that I get to interview a
tattooist/anarchist, there was no way I was going to let the
SKIN&INK 49
ARTIST SPOTLIGHT
opportunity to delve into that
part of Sean Hermans life
pass. Fortunately, the artist
was open to sharing his feeling
on the subject.
Anarchism is something I
identify with strongly, Herman
confirmed. For me, its taking
what Hib Chickena said in Off
the Map, and applying it to
every aspect of life. It was said,
This is what it means to be an
adventurer in our day: to give
up creature comforts of the
mind, to realize the possibilities
of imagination. Because everything around us says no you
cannot do this, you cannot live
without that, nothing is useful
unless its in service to money,
to gain, to stability. The adventurer gives in to tides of chaos,
trusts the world to support her
and in doing so turns her back
on the fear and obedience she
has been taught. She rejects the
indoctrination of impossibility.
Taking all the passion we
have, and applying it to every
aspect of our lives, enjoying
every bit of the ride we can. I
strive for my passion to be living in general.
Turning back to ink, I pushed
Herman to spill his guts about
the inks and equipment he uses
to turn out the spectacular work
he creates.
I use rotary machines
because of my hands and arms
having pain issues from years
of not taking care of them. I
think coil machines are beautiful
and amazing, but they are just
too heavy for me now, so going
with rotary has really helped me
out. I am always trying new
machines and new ink. I really
like the idea of machines and
ink made by tattooers. I like to
be holding a machine and know
that I can trace back who made
it, and the little things that they
did that make it unique to that
specific machine. We are very
50 SKIN&INK
SKIN&INK 51
ARTIST SPOTLIGHT
52 SKIN&INK
SKIN&INK 53
ARTIST SPOTLIGHT
54 SKIN&INK
fortunate to be in a
trade that developed
from people making
what they neededand
are still making what
they need. So, I like to
support that DIY attitude. From power supplies to clip cords, foot
switches, machines, and
ink, I like to have something that someone personally made and that
you can trace it back to
and tell them thank you,
personally.
With such an identifiable style, a potential
client would certainly
have a good idea about
what their piece is going
to look like before the
needle ever sets down
on skin. Yet, recognizing
SKIN&INK 55
ARTIST SPOTLIGHT
the long-term commitment that comes with being

tattooed, Herman is available to discuss the work
thats about to be done. At the same time, he
believes that, at some point, its time to take a seat
and trust the artist.
There is a point, too, where they have to let go,
and I let them know that. Usually, people coming to
me will already have at least one tattoo from someone else that they arent that happy with. Usually, it
ends up being that they were very specific and nitpicky about their idea and it didnt come out the way
they envisioned. I try to tell my clients that I am not
going to be able to get in their heads and create
exactly what they are seeing, but through discussion
we can create something new together that is based
on that idea they have but that it can be more than
what they were seeing because of having another
person bringing new ideas to the table.
Folks interested in adding Sean Hermans ink to
their collection can contact him via his web site. At
this point he rarely books more than six months
out at a time, so your wait wont be outrageous.
When we last spoke, he was booking into the summer of 2014.
Its really an easy process, said the artist about
booking time with him. And I appreciate the clients
being willing to wait just a little bit. Without my
clients, and their patience, I wouldnt be able to do
this. I am eternally grateful to them.
Royal Street Tattoo Eastern Shore

28850 US Hwy 98, Suite 105
Daphne, AL 36526
(251) 447-0499
www.seanherman.com
www.royalstreettattoo.com
56 SKIN&INK
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7/14
58 SKIN&INK
GOING
OVER THE
TOP
THE QUEST FOR
BROOKLYNS
STRONGEST
ARM!
Article and Photos by JJ Ignotz
hats more exciting than finding yourself at an arm wrestling competition on a
beautiful summer day? Not much! And on this particular day I found myself at
the 30th Annual Brooklyn Arm Wrestling Competition, a New York Golden Arm
Series championship which was held at the 36th Annual Brighton Jubilee Festival in Brighton
Beach, New York and sponsored by the New York City Arm Wrestling Association.
SKIN&INK 59
Author and
spur-of-themoment
contestant
JJ Ignotz.
And, of course, I couldnt resist just being a spectatorI got myself on stage and got my butt
whooped by a real pro! Im not kidding when I say
these competitors mean business, and they rocked
some serious ink. Like Nicole Scauris full sleeve
butterfly piece. Dont let the bright feminine colors
fool you. She is one tough cross-fitting and armwrestling champion who took first place in the
womens right-light weight class division. I also got
pointers from the first place pro right-handed super
weight champion, the nearly seven foot tall, Mike
Ayello, who donned an epic right-armed tribal
sleeve. Apparently it is all in the wrist and obtaining
all the leverage you can with your body. Its a quick
match, but having a game plan on hand is important,
not to mention protecting that wrist because from
what I was told, breaks are common!
The day was full of action, ink, and interesting
peoplewhich reminds me of Cory Bresnan, the
third-place winner of the pro-left super weight division, and his father, who are active competitors in
the arm wrestling circuit and have matching forearm
tattoos. It was an overall exciting day even though I
didnt bring home any wins. But, I learned a lot
about the technique and culture behind the exciting
world of arm wrestling. I encourage everyone to
take interest in the scene and visit NYCArms.com for
more information regarding current, local, national,
and international competitions.
INTERNATIONAL INK
Article By Michael Nguyen
ANTONIO MACKO
ntonio Macko Todisco is an

Italian artist who has strongly impacted the Chicano
scene. With black and grey legends
such as Jose Lopez and Cartoon mastering the fine-line technique, Macko
fuses his trademark of realism with
Chicano-inspired imagery to make him
internationally known. From working in
his private studio and also co-owning
Milano City Ink, Macko is able to experience the best of all worlds, feeding
off the artistic creativity among his coworkers to having private studio time
to himself, and traveling around the
world to countless conventions. Credit
Mackovelli for not only evolving the
64 SKIN&INK
CHOLO ITALIANO
black and grey game on the West

Coast, but worldwide.
S&I: Recently, you visited the boys
over at Lowrider Tattoos. How was
this experience any better or different
from previous ones?
AT: Yes, I met the guys at Lowrider
again this year and, as always, it was a
great pleasure. What I felt was different
was the feeling that my customers over
there already knew my name and that
they knew more about my works due
to social networking such as Instagram
and Facebook. I have
started to feel more
at home there
because the guys at
the shop are always
kind and our friendships have started to
be something more,
like being a family.
S&I: When it comes to
the whole Chicano
scene, it is pretty much
associated with the
guys over on the West
Coast. But what is the
Chicano culture like
back in Italy? How
can you describe it?
AT: I think that the
Chicano style is a
special attraction in
Italy, especially in the
south because sometimes the people live
the same good
times and bad times
and then we have a
special sensibility to
the arts and the
Chicanos. We are
pretty close to the
themes and the
meanings that the
Chicano tattoo is trying to spread; also
the black and grey is
what best represents our idea of academic art. This is what I think but
probably theres something of magic
behind it.
S&I: How did you initially get introduced to the tattooing and Chicano
scene and why did it catch your
attention?
AT: Ive been looking at the Los Angeles underground art since 1994 when I was
young. During my first trip to California I started to focus my attention on that
kind of style, and I became interested in the Chicano because I think it is the
most important culture over there. Then, when I started tattooing as a black and
grey artist, I thought that the Chicano style could give me the opportunity to
express my art and my ideas in the best way. And, when I met my mentor Jose
Lopez for the first time, the Chicano style came back once again. So I understood that was my vocation.
SKIN&INK 65
INTERNATIONAL INK
S&I: Have you ever had thoughts of

one day moving to California and
being closer to the guys there?
AT: You know that I really like
California and people over there. I really like the weather, and I have a lot of
good friends there. But I love my
town. Im so proud to be Italian. And
what I need is for my priorities to be
here in the South. So Ive never
thought about moving to California.
But, Ive chosen to visit California
every year to see my friends, have a
really good time, get inspiration for my
work, and chill on my days offand
then come back home.
S&I: What inspired you to pick up a
machine and start tattooing?
AT: I was passionate about tattoo collecting and when I finished art school,
I thought I should put it all together.
And then, everything came naturally.
66 SKIN&INK
S&I: Can you tell me about the start of your

tattooing career and how you initially got started? For example, did you apprentice under
someone? Were you self-taught? Did you practice tattooing on your friends at home?
AT: I began tattooing ten years ago, but my love
for the art started very early in my life. I was a
child when my grandfather (an Italian painter)
taught me how to draw with a pencil and charcoal. After primary school I studied art in school
and then attended the University of Art in
Florence. About tattooing, I didnt apprentice. I
started by myself at home tattooing my friend.
As my technique improved (after about a year), I
felt ready to have my first tattoo shop. In the
next year my mentor taught me to have the right
attitude about tattooing.
S&I: Tattooing has evolved and it would be
interesting to know what your preferred method
of a tattoo education is. Are you more traditional
in your approach? Do you follow the approach of
old-school apprenticeships or do you think there
are better ways of teaching one how to tattoo?
AT: I really think the best way is the old-school
apprenticeships. I hoped to have that kind of
schooling, but I didnt because I was in southern
Italy and no one here was talking about tattooing. And I hope people improve their technique
of drawing or painting before moving to the tattoo because everybody in our business has to
pay respect every day to the story of the tattoo.
We must never forget who came before us.
S&I: Youre consistently tattooing as both a
private studio artist and as a shop artist with
Milano City Ink. Does being in a studio surrounded by others and then having to work
alone have a physical or even psychological
effect on your whole tattoo process?
AT: I worked alone in my own shop in southern
Italy for the first five years. Then I started moving to other tattoo shops just to spread my name
and to get some cultural exchanges with other
artists, styles, and attitudes. Even Milan gave me
the opportunity to share my art with some big
names in the tattoo biz. In 2012, I had the big
opportunity to become a partner with my good
friend Miki Vialetto at the tattoo studio Milano
City Ink. So I started to split my time between
southern and northern Italy, working side by side
with bounce tattoo artists guest spotting in
Milano City Ink and Macko Tattoo shop, as well.
Actually, Im working with more than dozen
artists, and this gives me inspiration and motivation because I can always compare my works
with theirssometimes like a never-ending tattoo convention.
SKIN&INK 67
INTERNATIONAL INK
S&I: Moving onto one of the pieces that I think is
a stand-out in your portfolio is the clown chick.
Youve done so many of them and what impresses
me is your originality with each one. How are you
able to maximize your creativity on each piece
when there are times where youre faced with tattooing the same concept for clients?
AT: Figures, faces, and portraits were my favorite
subjects for painting and drawings even when I
was in school. So I used this experience and all
the teaching for my tattoos, and the people started
loving it and asking for it. So, it became my most
wanted subject and the people started to trust me
to work in the way I liked. Now I feel free to
choose everything like size, reference, and style.
People just say I want a payasa, thats it ! and
Im doing the rest. Usually, I like to use some
model references, putting my personal touch on it
every time. I really like the meaning behind that
kind of subject but I think that lots of people dont
know this because they are just looking for a
beautiful chica.
S&I: Clients and tattoo artists both have a different eye for art. A tattoo artists eye is naturally more observant and technical whereas the
clients tend to look at the finished piece as a
whole and arent as trained in the finer details.
As an artist looking at a tattoo, what are some
things you tend to look at or observe differently
than a non-artist? For example, texture and how
well it flows with the body, and composition.
AT: After technique and the subject of a tattoo,
Im looking at how the piece wears on the body. I
68 SKIN&INK
SKIN&INK 69
INTERNATIONAL INK
mean the composition, the
size, and how an artist
buildslike a tailor master
on the clients skin. And, of
course, Im looking for the
originality they use every time.
This combination is what creates a really good tattoo.
S&I: Youre mainly a black
and grey artist, but youve
also done some color pieces
here and there. What are
some ways for an artist to look
at a specific design and differentiate what would work well
in black and grey and what
works well as a color piece?
AT: Yeah, man, sometimes I
like to use colors, but just
because I need to do something
different, find myself again ,
unlearn everything I have
learned and recondition not just
what you think about, but the
way you think . This is what
gives me the results of improvement, inspiration, and growth.
S&I: And very few artists get
the opportunity to travel and
tattoo in different parts of the
world. For guys who havent
70 SKIN&INK
experienced going to big conventions or

doing guest spotting and working with
legendary artists, for example, how
would you describe this type of experience to them?
AT: One of my mottos in the life is Its
not the arrival but the journey.
Traveling is something that elevates your
mindalways meeting new people, seeing new places, and learning about new
cultures. Its not only regarding tattoos,
but life. Always when Im back at home
after a guest spot, convention, or holiday
I feel richer than before.
S&I: On your blog you recently wrote
that over the years youve been looking
to the tradition of the style to find the
way of improvement, inspiration, and
growth, but that every now and then you
come across wisdom that changes
everything. What did you mean by
wisdom that changes everything?

Were you introduced to or given advice
by a specific person that changed your
views on the craft?
AT: Its not just a single person or a single event. Everything in life can give you
information and new meanings. I mean,
we have to not only evolve our tattoo
techniques but we have to evolve our
minds and our attitudes to step up the
game. For example, during my last trip to
LA, I met a guy who taught me a lot
about how to approach a new work for a
new production; and he wasnt a tattoo
artist but a photographer. It doesnt matter that he wasnt a tattoo artist because
it is the attitude of learning that lets us
find wisdom everywhere and every time.
But you must have an open mind to
understand when these learning opportunities appear.
SKIN&INK 71
Corey Miller
72
SKIN&INK
ast June, thousands of tattooed folks,hot rodders, and those who know a good time when they
see one, headed out to Long Beach, CA for the annual salute to all that is cool aboard the historic Queen Mary. The Ink-N-Iron Kustom Culture Festival, labeled by the promoters as the
Granddaddy of Em All, offered a complete ink lovers experience with more extras, entertainment
and all-out madness than youd encounter at almost any other tat show on earth.
Trace Edwards, Riun Van Driessche, and their Keen Entertainment crew never ceased to amaze and
they took their game to new levels when it came to delivering a wild ride for artists, vendors, and
attendees alike. You could lose yourself in the ink experience, alone, and still walk away from the
weekend feeling as if you got way more than your
Article by
Miles Anderson
Photography by
Steve Prue
INK
20N13
IRON
moneys worth. Yet, if you found yourself tempted to stray

from the skin art element of the show, the list of happenings
you could experience, and trouble you could get into, was
seemingly endless.
Yes, Ink-N-Iron was a circus for all five senses. However,
in the world of tattoo expos, a convention is only as good as
the artists in attendance. Fortunately for those who climb
aboard each summer, INI always stocks the ship with a collection of tattooers who rival any convention in the States or
abroad.
The line-up of prestigious tattoo artists inking
masterpieces on the Queen Mary last June
included Roman Abrego, Steve Tefft, Nikko
Hurtado, Boris, Myke Chambers, Randy
Engelhard, Jess Yen, and Oliver Peck.
If it is your intention to get inked by one of
these top-tier masters at any future INI shows,
youd be smart to book the time well before you
get on the ship. If you dont, youll most likely
find yourself hoping for cancellations or some
odd circumstance that will land you your dream
session.
If you are coming just to check out the lay of
74 SKIN&INK
John Mesa
INK
20N13
IRON
Malice
the land and maybe take a photo of your favorite

artist, youre guaranteed to walk away with some
wonderful lifetime memories. INI is one of those
shows that puts all of the artists and vendors in
a positive state of mind. The attendance is
incredible and there is plenty of money to be
made. That combination usually means that the
artists (even the known grumpy ones) will be
happy to spend their free moments chatting up
fans and posing for pics.
Your friends at S&I were also on hand, to rub
elbows with our readers and capture as much ink
as possible for our extended magazine coverage.
Photographer extraordinaire, Steve Prue, drew the
assignment and he returned with some beautiful
76 SKIN&INK
and jaw-dropping portraits of many of the most

inked and least bashful among the INI attendees.
These epic conventions that carry a global following are the most fertile ground for tattoo diversity. Rockabilly cats with old-school ink stood
side-by-side at our shooting space with Latin traditionalists wearing skulls and related Dia de Los
Muertas pieces. Hand-poked Asian and tribal
works were represented among visitors, while
brilliant portraits and bio-mech work were standouts in our booth as well.
Non-tattoo fun included a vintage fashion show,
a pin-up pageant, and killer cars as far as the eye
could see as well as fine arts shows and exhibits.
A performance called the Boiler Room Big Top
was among the more interesting entertainment attractions for those of us in the S&I camp, as was
the cabaret show at the Pleasure Portal. The closest thing to a seminar we checked out was the leftof-center Dr. Sketchys Anti-Art School class.
Those looking for big time entertainment were in for some serious satisfaction as the live music
bill for Friday, Saturday, and Sunday were easily the hottest of any ink expo wed ever covered.
Among the headlines were no lesser names than Iggy Pop and the Stooges, Dead Kennedys, The
Fleshtones, The Offspring, and The Stranglers.
Each day, as it is written in tattoo convention law, had an itinerary of tattoo contests. Along with
Best of the Day, Friday had traditional, tribal, and Japanese tattoo work contests. Saturday has
BOD as well as Black & Grey, large and small, arm and leg sleeve, and portrait categories. Sunday
brought with it awards in best all around categories as well as Best of the Day and Best of Show
honors.
Even if you are the kind of person who
prefers the smaller, more intimate conventions, it would be
worth your while to check out
Ink-N-Iron at least once. It has
the feel of a very serious tattoo
convention, yet it offers so
much more. The people are
very cool and laid back, and
youll find yourself in the company of some of the best artists
the world has to offer.
For information on Ink-N-Iron
2014, visit http://ink-niron.com.
START
SHOPPING
NOW!
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ksh
rebelin Photographed by Michelle Katiussa
THE
YEAR IN
CENTERFOLDS
The only thing
better than a
tattoo, is a tattoo
on a pretty girl.
Turn the page and
enjoy the year in
centerfolds.
Photos by Mannon Pictures

Wardrobe by Bella Bendita Swimwear
SKIN&INK 79
Photography by Andrew Brusso
OCTOBER 2013
a
n
i
r
B
Photographer: Paul Myers

Model: Brina Murphy
Hair and Makeup:
Brina Murphy
December 2013
e
n
n
a
e
L
Photographer: Rowan Murray

Model: Leanne James
Latex: cherry pop latex
Hair & Mua: Leanne James
Tattooist: Jon Westwood
FEBRUARY 2014
Teya
Salat
AUGUST 2014
Photo Melita Aleshina
e
a
i
R
Model: Riae
Photograper: Skyzzo
Make Up and Styling: Riae
Photo Retouching: Peter Domorak
APRIL 2014
a
h
g
i
e
L
n
a
g
a
H
Model: Leigha Hagan

Photography by Isaac Madera
Hair and makeup by Dana Winsor
Sleeve by Josh Hagan.
JUNE 2014
SKIN&INK
Photos by Mannon Pictures

Wardrobe by Bella Bendita
Swimwear
i
i
m
Sa
Photo by Rob Brettschneider
October 2014
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THE
YEAR IN
ARTISTS
Skin & Ink has

always been
proud to be the
industry mag.
More artists and
shop owners buy or
subscribe to S&I
than any other
tattoo magazine
on the planet.
And this next
section is merely
a peak at just a
few of the great
artists that have
graced our pages
this past year.
94 SKIN&INK
Tattoo by Den Yakovlev
Tattoo by Aleksandr Pashkov
Tattoo by Kevin Cole

Tattoo by Jaime Eeliot
Tattoo by Chris Chubbuck
Tattoo by Jean Acevedo
Tattoo by Andy Engel

Tattoo by Chad Chase
96 SKIN&INK
Tattoo by Sidelinger
Tattoo by Eric Marcinizyn
Tattoo by Matteo Pasqualinoo
Tattoo by Matteo Pasqualinoo
98 SKIN&INK
Tattoo by Anton Aleksinka
Tattoo by Tim Beck

Tattoo by Corey Miller
Tattoo by Sarah Miller
Tattoo by Teresa Sharp
Tattoo by Teresa Sharp

Tattoo by Tim Beck
Tattoo by Mirek VelStotker
Tattoo by Travis Litke
100 SKIN&INK
Tattoo by JayJay Dallas
Tattoo by Albert
Tattoo by Slim
Tattoo by Shige
SKIN&INK 101
Tattoo by Karina Cuba
Tattoo by Evgenij Pioner
Tattoo by Aleksandr Eneken
Tattoo by Myke Chambers
102 SKIN&INK
Tattoo by Marco Manzo
Tattoo by Josh Payne
Tattoo by Julian
Tattoo by Chaim Machley
Tattoo by Julie Clarke
Tattoo by Mark Longenecker
104 SKIN&INK
Tattoo by Emilio Saylor
Tattoo by Cody Eich

Tattoo by Joe Swider
Tattoo by Adam Golden
106 SKIN&INK
Tattoo by Lou
Tattoo by Konstantin Vorobjev
Tattoo by Mircea Stamen
Tattoo by Sarah Miller
Tattoo by Dustin Yip
Tattoo by Lou
Tattoo by Dustin Yip
Tattoo by Mirek Vel Stotker
Tattoo by Tim Kern
108 SKIN&INK
Tattoo by Tofi
SKIN&INK 109
Tattoo by Teague Mullen
Artist Chris Howell
Tattoo by Marco Hengst
Tattoo by Mirek Vel Stotker
Tattoo by Heald
SKIN&INK 111
Tattoo by Adriaan Machete
112 SKIN&INK
Tattoo by Kali Boy
Tattoo by Dan Henk

Tattoo by Kevin Cole
Tattoo by Kernal Jr Tubbs

Tattoo by Price
Tattoo by Eric Marcinizyn
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Dr. Matt Lodder, Alex Binnie, TM
Article and
Photography
by Travelin Mick
LETTERS
FROM
LONDON
Tattoos by
Domantas
Parvainis,
Totemas
Tattoo,
Siauliai,
LIT
his is the big one, the only really, really

important weekend of the European fall
convention season. London is the one
where everything happens and everybody is
presentthe best artists, newcomers and oldtimers, the movers and shakers of the business,
the craziest guys and the hottest girls. If you are
not there, you WILL miss out, even though the
convention is already in its ninth year. It is an
event that has a character that seems to
approach the religious.
Even the somewhat English weather would not
dare spoil this High Mass of tattooing by as much
116 SKIN&INK
as a drop of rain or a chilly breeze. As almost

every year, the sun, already low on the horizon in
late September, is sending its rays through the
extensive arched-glass windows of the historic
brick walls of the cathedral-like Tobacco Docks
and is painting the scenery that unfolds on the
convention floor with a pinkish hue.
The magic is almost tangible, as in these glorious halls they all have gathered, the beacons of
the tattoo world, the shining lights from all six
continents, the Curia of the pigment wizards,
apostles of the Church of Everlasting Ink.
Tattoos by Jos Lopez, Lowrider Tattoo, CA, USA

Shige in Aktion
Tin-Tin and
Jack Rudy
Why isnt Genkos booth yellow? He

obviously prefers blue now.
Is that Alex Binnie over there, at the
bar, with Travelin Mick? In all likelihood.
Are those guys with the bodysuits
from China or Taiwan? Could be both,
Lion King, or Yang Zhuo. Or, the
Americans from My Tattoo.
Which English newspapers are here,
only taking pictures of female chests and
The air is brimming with the buzz of the machines,

facially tattooed freaks? All of them.
the tapping of traditional hand tools, and the humWhich Chicano is wearing the biggest Rolex? Real or Fake?
drum of a choir of a thousand voices. Their disciples
How many tattoos does Jack Rudy manage to finish before lunch? None. He
have followed them faithfully to the ancient lands of
only arrives after dinner.
the seafaring mariners, where western tattooTattoos by Ivano Natale,
ing began in the dingy harbors of Old Blimey.
Goodfellas Tattoo, Orange
Fluttering, clutching the holy pages of the conCounty, USA
vention floor plan, the jittery votaries bow
down deeply in order to find the right path on
the event map, nailed to the portals that lead
to their enlightenment.
Without fail and recess, they ask each other
the essential questions, the ones that can only
have one final answer:
Did you see what Ami James is tattooing
right now? No, and I dont care. He is so
handsome, though.
Is Filip here? No, he did Paris and
Montreal this year.
Will Randy Engelhard finish his work
tonight, before the security kicks him out?
Randy Engelhard will never be kicked out. He
fires the doorman.
Tattoos by
Sleeve by
Has Zele of Zagreb Tattoo a bottle of
Josh Duffy,
Matt
Timeline
Whiskey or Cognac in his booth this year?
Jordan,
Gallery,
Shi Shape
Looks like Croatian schnapps.
Los
Tattoo,
Who is this, laughing like a broken starter
Angeles,
Auckland,
motor? Tin-Tin.
USA
NZ
SKIN&INK 117
TRAVELIN MICK
Tattoo by Sylvio de
Freitas, Brazilian
Crew, London, UK
Those crucial questions and topics keep the eager pilgrims to the
East End of London busy into the
wee hours, for four long days,
from Thursday Vespers through
Sunday mass, and all seems
peaceful and good. Only on
Monday, the fifth day, on the way
to the airport or train station, will
dreariness hold them in its grasp,
an empty feeling, not just in their
souls, but their wallets too...
Without London, a tattooed life is
like a meaningless and dry desert,
without shape and goals to strive
for, at least until the coming year.
When the year is 2014, and the
stars will sparkle over the Tobacco
Docks for the tenth time, the people will gather there, and the
angels will cry outLONDON IS
CALLING!
London
Convention
Advice:
Find out the date. Apply for vacation time, and book your flights
and hotel rooms. As early as possible. It will never get cheaper, only
(much) more expensive. And, the
London convention does not exactly come as a surprise, right?
London City is the best airport in
London, just 20 minutes to the
convention by cab. But, you pay
dearly to fly there. Flying out from
Stansted requires you to leave your
hotel four hours before the flight.
At least. Make it five to be sure,
more if there are leaves on the
track. Gatwick is not even near
Tattoos by
Domantas
Parvainis,
Totemas
Tattoo,
Siauliai,
LIT
Tattoo by
Matteo
Pasqualin,
Porto Viro, IT
London at all. And Heathrow is pure chaos.

Your choice.
There is NO subway station in the immediate
vicinity of the venue.
Do pre-order your convention passes.
Lines are long. Very long. Or, come in the
afternoon and walk right in. Your artist might
be booked out by then, though.
English beer sucks. At least thats what we
think. Find that particular bar in the basement
that sells real ales. Yummy!
English food sucks. At least thats what we
think. No, actually, we all know that. Go hungry, wait for after the show and find great
Indian curries in nearby Brick Lane. There are
rumors about a Thai place, too.
At the contests, all participants are winners. Co-organizer Woody mercilessly exterminates the duds beforehand. If you pass
his muster, your ink is great.
If you dont join the party on Sunday night,
you miss out.
Back by
Ael Lim,
Singapur
Front by
Ivano
Natale,
Goodfellas
Tattoo,
Orange
County,
USA
Tattoos by Jammes,
Woodys Tattoo, High
Wycombe, UK
Best Black-andGrey: Tattoo by

Carlos Torres,
Timeline Gallery,
Los Angeles, USA
TRAVELIN MICK
London 2013 Mini Interview:
Jack Rudy
Is he the inventor of true realism in modern tattooing? Maybe.
Without a doubt, though, the Californian, who grew up in a Chicano
family, is one of the most influential individuals in American tattoo
history. With his fine line masterpieces, tattooed in intricate perfection with unbeaten character by using single needle techniques, he
lifted tattooing into a new dimension in the 1980s and 90s. Even
now that we reached the 2010s, the sometimes a bit grumpy-looking giant commands immense respect in the urban culture crowd
and among his peers.
He only rarely visits Europe, even though he certainly has re-kindled his interest in the Old World.
TM: Jack, you dont often come to Europe, and I only started seeing
you coming over two years ago in Milan. Now its your second time
in London. What motivates you to choose this event in particular?
JR: Yes, it was thirteen years that I didnt come. But last year,
London was a great experience because I saw many of my friends
in the business again after such a long time.
TM: Is that what makes it a great show for you?
JR: Its a big part of it. If I dont know anyone, which does happen
nowadays, its not much fun, right?
Tattoos by
Remigijus
Cizauskas,
Remis
Tattoo,
Dublin,
IRE
Tattoos
by Tang
Ping,
Zi You
Tattoo,
Beijing,
China
Tattoos
by Petra,
Bobek
Tattoo, CZ
TM: Do you actually have the feeling sometimes that some of the younger
guys have no idea who you are, even if they are doing work in a style you
basically invented?
JR: Oh, yes. In fact, I do have that feeling sometimes. Well, maybe they
dont know me, or they dont want to talk to me, because they are
afraid of me. Ha-ha. They think I am a grouchy old fuck.
TM: Thats because they dont really know you. But I am afraid that
is the reputation you got among some...
JR: Ha-ha. Its half true. (JRs wife: Smaller half!). Not necessarily,
depends how much sleep I got and how stupid people act...
(The rest of the conversation drowns in laughter.)
Gao Bin, Lion King
Back by Jess
Yen, My Tattoo,
Alhambra, USA
Tattoos
by Tang
Ping, Zi
You
Tattoo,
Beijing,
China
Tattoo by
Alex, Sacred
Tattoo, UK
Sleeve by Matt
Jordan, Shi
Shape Tattoo,
Auckland, NZ
SKIN&INK 19
ARTIST SPOTLIGHT
Cecil
Porter
Article
by Jill
Bergforth
.
n
i
a
P
t
Grea
.
t
r
A
t
a
e
Gr
A
merican artist Cecil Porters father died when Cecil was twelve years old.
Cecils only escape after his fathers passing was super heroes and the
fantasy story lines of comics. Cecils mother decided to move the family
to her hometown on an impulse and Cecil had a difficult time making new friends.
His cousin was absolutely fanatical about comics and so, too, became Cecil. Reading
stories about super heroes saving the world and drawing were his only escapes from
the real world. In fact, Cecil became instantly hooked and wanted to make a career
out of creating art for comic books.
After he graduated from high school at the age of sixteen, he was determined to
make a living from drawing comics. He got a part time job at an independent comic
book company in Cincinnati. Even though Cecil was struggling to pay his bills, it was
because of this very job that he bumped into the tattoo industry. A fellow co-worker
at the comic book company recognized Cecils drawing talent and encouraged him to
pursue a career in tattooing.
I was eighteen when I attempted to get into tattoos. I got some equipment and did
a bunch of terrible tattoosand I mean terrible! I screwed up my girlfriends and
even her dads tattoo really badly. I was doing it all wrong, and once the fun of look
at me Im tattooing wore off, I realized that what I was doing wasnt just terrible look-
122 SKIN&INK
ing but that is was disrespectful to people

who did take the art seriously. I began to
realize that I was screwing up the skin of
my friends and it just made me unhappy.
I just quit and ended up basically throwing away all my tattoo equipment.
It wasnt until Cecils mid-twenties that
he gave tattooing another chance.
However, desperately trying to accommodate to all styles within tattoo artistry, he
was utterly lost.
I sucked as a tattooist; I wanted to be
a new school artist because I believed it
to be the most closely related to my
comic work at the time. I wasted a lot of

time trying to do a style that I just wasnt
cut out for. One day somebody told me
that I wouldnt be able to pull off a portrait
and I was like F thatI can do anything
if I try hard enough. I ended up getting a
Josh Carlton book and DVD and watched
the whole thing, probably fifteen or twenty
times. I was determined to make an
amazing portrait. Instantly, I was hooked!
It just felt like a light switch had been
flipped and it all made sense. But that
doesnt mean I was instantly good, of
course, because I wasnt. But I underSKIN&INK 123
ARTIST SPOTLIGHT
stood more at that point than I had, and I

knew that this was truly my direction.
Cecil was almost twenty-six when he
decided to become more serious and
124 SKIN&INK
wanted to become a recognized tattoo

artist within the industry. His journey
proved to be more difficult than he could
have imagined.
It was so hard for years!

People told me, I like your stuff
but can you not do as many
colors? or Can you not make
the wrinkles so deep looking?
or the worstCan you do the
portrait more like so and so?
That ones a killer! Honestly, it
took a long time before I started to hear I love how your stuff
looks; it has all these crazy colors and weird details. I felt that
if I could just learn to do what I
was able to do on paper, then I
could do well.
I began to push my boundaries as far as I could. My portraits
almost turned into caricatures and I experimented a lot with color
and tried to exaggerate specific features. This made my work a lot
more fun and creative for me and gave my portraits a look that was
different from others.
But the dream of Cecil to break into the comic industry never left
his mind.
Ive done some work on some Marvel comic books and have gotten
to work on books that I

probably have no right
doing! I am currently working on my own book that
will be coming out through
a big name company but I
cant say much else about it
right now. Its my dream
book and Im very excited to
have a chance like this. Im
very lucky to have the
chance to do this book, and
if it takes offthen maybe a
sequel. Its been a dream for
a long time to do a creator-owned book and through the connections
Ive made in comics, its now happening. I hope it will be well received
and even if it isnt, it was a dream come true. Im also working on my
first art book. which is essentially a collection of original characters
painted in acrylic.
Today Cecil understands one thing: that art is art and that it doesnt
matter what medium you are using to express yourself.
Cecil has spent the majority of his tattooing career in California, but
being fed up with the ingratitude of small business ventures on the
SKIN&INK 125
ARTIST SPOTLIGHT
126 SKIN&INK
will see, I suppose. In the

meantime Ill have a blast
learning from the people
around me. Either way, I
have a gorgeous and supportive fiance who keeps
the machine running, a
career in art, and amazing
friends all around the world.
Im growing as an artist
every day and thats what
makes me really happy.
West Coast and hating to hold still for too long, he has
decided to move to Portland, Oregon, and pick up his
business over therewhich he will do in early 2014.
My fiance Ashley did her back piece in Portland by
artist Ryan Mason and when we made our trips up
there, I fell in love with it. People move at a slower pace
there. I love the scenery, and its great fat guy weather.
It kind of reminds me of home, so I feel more comfortable. So, we are moving if all goes well and I will be
open and working in January. So, with the studio I hope
that every customer that comes in sees that creating art
on the skin, on a computer, or on canvas is still art. We
Cecil Porter Tattoos

- 1476 NE Alberta St.
- Portland, OR
cecilportertattoos.com
SKIN&INK 127
The Second Annual
Article By Miles Andersen

Photography by Jaymi Britten and
Melissa Kumano
ne of the greatest additions to the American convention schedule in 2012 was the launch of
Hawaiis first-ever tattoo expo. The talk of the
convention circuit was talk of major tattoo work in the
long-standing Hawaiian tradition, the many other disciplines being inked all day, and folks heading to the outdoors to sip drinks and dip their toes in the Pacific Ocean
each evening. So, when the second annual PI & AF was set
to go down at the Blaisdell Exhibition Hall last August, ink
fanatics were tripping over one another to book flights to
our 50th state.
Act Two met and exceeded all expectationsfrom both
returning attendees and those who were making their first
128 SKIN&INK
trip to the Hawaiian show. To have so many artists (more

than 100) tattooing together under one roof in this part of
the country was virtually unheard of until the PI & AF
kicked off in 2012. The latest Pacific Ink show brought with
it an artist line-up that would rival any convention on the
planet. The 2013 tattooers roll call featured such names as
Oliver Peck, Big Gus, Gil Montie, Lyle Tuttle, Roman, and
Megan Massacre.
Along with the Hawaiian ink tradition being well represented, artists from the Philippines, Samoa, Europe, Japan,
and the U.S. mainland were laying down ink masterpieces in
the giant exhibition hall.
Anyone who has ever visited Hawaii knows that the native
SKIN&INK 129
PACIFIC INK &

ART FESTIVAL
residents are very proud and protective of their culture and

that venues promote traditional music and dance exhibitions,
luaus, and other performances that are enjoyed daily by locals
and tourists. This flavor was also alive and well at the Ink &
Art Festival. The bill of musical guests included the traditional
Hawaiian sounds, and those who enjoy Hula were not left
disappointed. Stepping a bit outside the box was a really
cool troupe of dancers performing a Chinese dragon routine.
One of the bigger non-ink attractions each year has been
the thrills, spills and excitement that surrounds the BMX
and skateboard ramp. The ramp was back this time as
130 SKIN&INK
PACIFIC INK &

ART FESTIVAL
bikes and boards worked magic on the ramp throughout the convention and
added a modern-day atmosphere to a very traditional event. Also, in this vein
was a pretty awesome custom-car exhibition that rivaled those bigger-named
car shows on the mainland.
Calendar girls, scantily clad in bikinis, also raised the heat level of the show
way above the boiling point and added to the something for everyone aim of
the promoters. Just as an aside, the 2014 Calendar featuring these beautiful
ladies is now available for purchase from the convention website. Proceeds
from the calendar sales have been earmarked for a very worthy cause.
For a second year we enjoyed dropping anchor in Hawaii and hanging with
new faces as well as the usual groups we see at the major North American
conventions. Shot for shot, the Pacific Ink & Art Festival boasts more full back
132 SKIN&INK
pieces and body suits than we find at most other shows, and our
photographers had a field day capturing all of this amazing work for
our convention coverage.
Breathtaking tattoo work, cool people, a great atmosphere,
and a backdrop that is nothing short of heaven-on-earth make
this a convention that all serious ink enthusiasts must experience for themselves.
If you have plans for attending the 2014 show, tickets are already
on sale. Booth space for the event is also available (as of the time
of this writing). All the available information about the Third Annual
Pacific Ink & Art Festival can be found at
pacificinkandartexpo.com. You can also keep up with the convention news on the conventions Facebook page
facebook.com/HawaiiTattooExpo.
SKIN&INK 133
end your best tattoo flash to

Skin&Ink and be a part of
our Tattoo Flash Contest. A
winner will be selected in each
issue and he/she will be awarded a one-year subscription to
our magazine.
At the end of the year, all the
winning art will be showcased and
an overall winner will be selected.
The winning artist will receive an
Artist Spotlight feature in
Skin&Ink.
4
1
0
2
L
I
R
AP
!
R
E
N
N
I
W
1st Place:
Felix Rose, FDCF

facebook.com/felix.rose.79230
TATTOOERS POV with NATE BEAVERS
recently had the

opportunity to
do a very fun
piece on a client
who is a farmer. He
grows various
vegetables that go
to a local farmers
market in my
neighborhood. The
farmers trusty
companion on the
farm is his dog. I
had the pleasure of
immortalizing his
dog as a
gentleman on the
farmers arm.
I pulled up all the
vintage mens
clothing I could find
to help me on this
project. It is always
a good thing when
the customer trusts
the artist enough to
do whatever the
artist chooses. All the client wanted was a tattoo that
represented his dog as a sharp dressed pooch. I
found some images of some old tuxedos and frilly
shirts to match. I felt that would be perfect for the
piece. A hat was a must. The reference for his dog
wasnt as high quality as I would normally hope for
and am including the original reference so you can
see what I had to work with.
I used a very pixelated image of the dogs head to
create a face with a closed mouth. I printed out the
cropped image and sketched up a version with
mouth closed and added the clothing. I liked the
idea of having a vest and jacket to make the dog
more stately.
I usually draw the original sketch in reverse and
then draw it the way it should be facing after. If you
look at a drawing that is mirrored, you can see all the
flaws and make adjustments on the final copy. Next,
I needed to decide on a color scheme for the tattoo. I
wanted the colors to be limited to only three or four,
maximum. This way it would have a more traditional,
vintage feel to it. After looking over the image, I then
136 SKIN&INK
decided to add a piece of filigree to drape the side of

the image and frame out the bottom of the tattoo.
This gives the tattoo an ending point.
Since the dog has a lot of dark orange in its fur, I
decided to use a contrasting blue gray for the main
color of the suit. Red becomes a good accent color
at that point because it is complementary to the
orange. I made the white an off-white so it wasnt
too harshly contrasting with everything. For this
tattoo, I used a rotary machine.
I recently received a very nice rotary machine
from my good friend Dino Casarin. I like the rotary
because it has a spring attached to soften the hit of
the rotary. There is usually no forgiveness with a
rotary machine, but this one seems to have some
give to it. I like the smoothness and consistency of
the machine. I was able to line and shade this tattoo
with this one machine.
Photo Mary DAloisio
A Sharp Dressed Pooch
I began the tattoo with a 7 liner made with #12 needles. It is a

pretty tight liner and is thin enough to put some details in with. I
only outlined the perimeter of the tattoo and left all the internal
lines very faint. I usually just dip my liner in the rinse cup and hold
it there until most of the black is gone. Then, I sketch in some faint
grey wash lines just to give me some guides for where I will be
shading. I like the effect of using bold lines to pronounce the basic
shape of the tattoo and then no lines within. It adds some
character to the piece. There is a lot of heavy black shading in this
piece done with straight black. I am using all Fusion inks now, so
their lining ink is what I prefer. The power black that Fusion offers
is a very deep black that is nice to achieve heavy

contrast. For the darker blue grey areas, I usually dip
into the black and then run my needle in a medium
blue for a little bit to mix the two. I then gradually add
white to make the transitions from light to dark.
Always leave areas open to be able to come back
with lighter colors and white. To make the off-white
color, I run my needle in a cap of yellow ochre and
then in the white. This makes a nice dirty yellowed
white. For the filigree I used my mix of dark purple and
yellow for the darks and a mix of medium purple and
yellow for the midgrade. The lightest areas are straight
canary yellow that is gradually lightened with white.
Throughout the tattoo, I used a curved, 15 magnum
shader needle made with #12 needles. I always go
back through and tighten up any loose areas with a 9
round shader made with #12 needles as well.
I always have some progress shots of a lot of my
work on Instagram, so please follow me there
@natebeaversif you dont already. It is hard to
explain everything necessary sometimes, so it is best
to try to book time with your favorite artist and
get tattooed! That gives you the opportunity to watch
first hand and maybe even ask a couple of questions about how
they achieve their awesome tattoos. Another helpful hint is to
search for the best reference possible for inspiration. There is a
plethora of images to search for online, but I think it is better to
search for vintage books to feed off of.
I hope I have given you some insight into creating your own
gentlemanly animal tattoo and that you continue striving to
become a better artist.
Contact Nate at tatpov@skinink.com

SKIN&INK 137
ARTIST SPOTLIGHT
eR mber
rO eliana
Article by
Michael Nguyen
s
i
H
g
n
i
t
h
g
Fi
p
o
T
e
h
T
o
Way T
M
any tattoo artists have gone through their share of roadblocks

and hardships to get to where they are now. Rember Orellana
suffered a severe, career-changing injury that forced him to leave
his life in the ring as a semi-pro boxer and enter the tattoo industryonly to
explode onto the scene and be recognized as one of the worlds top realism
artists. The Guatemala-born artist moved to the United States when he was
four years old, and he established himself in the Dallas area, where his 2014year-end goal is to open up his own studio at some point in the calendar year.
After learning how to properly put together and take apart a coil machine,
along with learning how to master one, Orellanas tattooing career took
off. He describes his style as surrealistic and Gothic, due to his love of
architecture, fine details, and horror. One quick look at his work and you can
notice the realistic style of his art as well as the exactness of his work
resulting from the extensive amount of time he spends perfecting every little
bit of detail in his workjust like the old churches and historic buildings that
used to put him in awe when he visited them. If things happen for a reason,
then the injury Orellana suffered turned into nothing but a blessing with the
new talent the tattoo industry has gained.
138 SKIN&INK
S&I: Before tattooing, you

were a boxer and wrestler.
Was that your intended
career choice before
tattooing came along?
Oreliana: At that time, I
was young and wasnt
even thinking about a
career. I became semipro in boxing but
incurred a pretty severe
eye injury and had a
retinal detachment. So, I
was forced to quit boxing
and move on to a new
career. Tattooing was
something that I had not
considered at this time
but I had always been
intrigued with electronics
and had even done some
studies in that field.
I believe there are some
similarities between
boxing/wrestling and
tattooing because both
fields require mental
strength and durability.
In terms of preparation,
do you see any more
similarities between
your two passions?
Boxing and wrestling, like
tattooing, require
patience and a lot of
time. I also see a
similarity between the
two and the
competitiveness involved.
With tattooing, you are
required to be creative
and the work is all from
you. You dont have a
team to back you up, and
just like in boxing, your
final product is a result of
your actions. I feel the
mental strength I gained
through boxing has
allowed me not to be
afraid and to branch out
and try new things.
What made you decide
to switch it up and enter
the tattoo world? And do
you recall the moment
where you realized
tattooing was the right
path for you?
I was always into art even
when I was boxing. I
SKIN&INK 139
ARTIST SPOTLIGHT
used to do tattoos on friends of mine early on. I was working in

a warehouse and doing tattoos on the side. Then once I
reached a certain point where I was able to make enough
money to support myself tattooing, I was able to quit my job at
the warehouse and tattoo full time in a studio.
How did you embrace the realism/surrealistic/Gothic-style
into your work?
Ive always had a love for art and been very intrigued with
architecture and all the detail that are involved. Once I was old
enough to have the opportunity to visit old churches and
historic buildings, I really began to appreciate and understand
all the time and dedication that goes into the fine detail. Seeing
such amazing architecture really inspired me to want to do the
140 SKIN&INK
same with my work. When I was a teenager, I was really into

the horror scene. I wasnt really interested in drawing portraits
of movie stars or everyday people. I would create and draw
fictional characters of my own, inspired by the sixteenth
century era.
Who are some artists that you learned from in the beginning
of your careerguys who youve been inspired by?
Some of the artists that Ive learned a lot from are Robin
Carpio, Angel Rodriguez, and Frank Sanchez. I was already
tattooing before I met Robin, but I learned several different
techniques just from watching him that I feel still help me
today. Angel helped me to get real tattoo equipment and
introduced me to my good friend Frank Sanchez. I met Frank
after
I
had
only
been
SKIN&INK 141
ARTIST SPOTLIGHT
you if you know how to tune it properly.
Being that you had no formal apprenticeship, how were you
able to take it upon yourself to develop into a great tattoo
artist? What were some of the things you did to improve your
craft during that time when you first picked up a machine?
Ive always looked for ways to be surrounded by great artists
so that I could learn by watching and talking with them. I have
always made an effort to work at shops where they put the
client first, are not just about making money, but are creating
work that people can be proud of. The passion that I have for
art and tattooing drives me to always improve.
You do quite a bit of travelling, so how different is the
experience for you when youre on the road in front of packed
conventions as opposed to tattooing from your own personal
studio space? Is the experience any more difficult for you
when youre on the road?
It can be a little distracting sometimes. It does take me a little
bit longer to get in my zone, but all in all, its worth it to get to
hang out with the other artists, make new connections, and get
the exposure.
What is the tattoo scene like back home in Guatemala? And
how does it stack up against the tattoo-crazy culture thats
populated America?
I left Guatemala when I was four years old, but I can only
imagine that it wouldnt be easy. Here in the United States, I
think we sometimes take for granted how simple it is for us to
have access to all the supplies and up-to-date technology that
tattooing for one year. I can always count of Frank for

constructive criticism, which is greatly appreciated. I would like
to take this opportunity to thank these guys, Gracias Robin,
Angel and Frank.
One of the things I noted was that you learned how to put
together and take apart a tattoo machine, which is a skill that
not a lot of peopleespecially the newer tattooistshave
learned. How important is it to know how to put a machine
together/take it apart, and how much of it has to do with just
the overall old-school way of learning the ropes and
respecting the industry?
Learning how to put together and take apart a tattoo
machine It It really helped me understand how the machine
works and know all the things that a coil machine can do for
142 SKIN&INK
SKIN&INK 143
ARTIST SPOTLIGHT
they dont have there. In Guatemala, they are very close-minded to the tattoo
industry. Having a tattoo in Guatemala usually means that you are in a gang, so
you are easily looked down upon or assumed to be a criminal.
What types of artistic activities did you do back when you were a kid?
All that I knew as a kid was stencil drawing. I always did drawings in class and
would draw pictures for the girls. I didnt know anything about color then. I
learned everything about color from tattooing. I really like stencil drawing
because you can do it anywhere with just a pencil and paper and you can
incorporate a lot of detail into it.
Do you believe tattooing become more natural to you because you already
laid down that strong art background?
I dont think that I had a really strong artistic foundation before I started
tattooing, but I have always tried to be a perfectionist when it comes to drawing
or painting. After I got into the tattooing industry, I took some pastel and oil
painting classes to help me understand more about art, and later I introduced
this into my tattooing.
What are some types of things youd like to accomplish this year? Any styles
youre interested in trying out? Pieces youd like to tattoo? Business-related
or shop goals?
My main goal for 2014 is to open my own shop in the Dallas area. I am
currently in the process of doing that now. I would like to be more productive as
a painter and be able to produce more art work this year. I would really like to
work on more large scale tattoo pieces and keep developing my style.
Contact Rember at: rembertattoos.com

144 SKIN&INK
Article by
Bill Waytowich
apanese tattoos date back earlier than 3000 B.C., and evidence of tattoo design has been found in many ancient clay
figures. When Japanese tattooing first began, there was not a
concept of just a single tattoo. The style in those days was to have a tattooed
body suittattoos that covered all regions of the body. The Japanese term used to
describe this style of tattoo is Irezumi. Irezumi means the insertion of ink under the
skin to leave a permanent, decorative mark, or tattoo.
Here is an abbreviated 12,000 year journey through the fascinating, but tumultuous,
history of Japanese tattooing.
146 SKIN&INK
10,0003,000 B.C.
Although only clay statues found in Japan remain
to depict these tattoos, the
history of the Japanese
tattoo dates back as far
as 10,000 B.C. This time
period was known as the
Joman or Paleolithic Era.
Representations of tattoos at this time were for
both spiritual and decorative purposes. Later,
these markings would be
more of a demarcation of
social status or religious
influence.
Some scholars have
suggested that the distinctive cord-marked patterns
observed on the faces and
bodies of the early clay figures represented tattoos
but some archaeologists
believe the marks were
meant to be decorative
designs rather than tattoos. The method used to
achieve a cord-marked pattern onto clay was to wrap
a thin rope or cord around
a small flat bone or wood
paddle, which was pressed
into the soft clay to
achieve a design. There are
many similarities in other
cultures with this same

cord design.
300 A.D.
The first actual written
record of a Japanese tattoo is found in the History
of Chinese Dynasties.
According to this text,
Japanese men would tattoo their faces and decorate their bodies with
designs which eventually became a normal
practice in their society. Japanese tattooing is also mentioned
in other Chinese texts but
usually in a negative way.
The Chinese thought of
tattooing as a sign of outcasts and barbarism and
only used it for purposes
of punishment.
A shift began to occur
in the Kofun period of
Japanese history. Between
300 and 600 A.D., tattoos
took on a more negative
connotation. The word
kofun is Japanese for
the type of burial mounds
dating from this era.
During this time period,
Japanese tattoos were
placed on criminals as
punishment, just as the
Chinese did but in a man-
ner similar to the Roman tradition of marking

slaves with descriptive phrases that indicated the
crime they had committed.
600 A.D.
By the early seventh century, Japanese rulers
had adopted much of the Chinese culture and attitudes of the Chinese, and as a result, decorative
SKIN&INK 147
tattooing fell into decline. For the next

several centuries, tattoos evolved into a
way to brand criminals and degenerates.
The rudimentary stages of elaborate systems
of design to mark the offender had begun.
Tattooed individuals were ostracized by society and
considered outcasts.
720 A.D.
The first record of Japanese tattooing as a punishment
was mentioned in a history text where the emperor made
the decision to sentence an accused anarchist, who had
plotted to overthrow the state, to be tattooed rather than
sentenced to death. According to the text, the emperor
refused to sentence the criminal to the death penalty as a
measure of leniency.
Edo Period
Between 1600 and 1868 A.D., the role of tattoos in
Japanese society began to change. Tattooed marks were
still used as punishment, but minor fads for decorative tattoos began to appear, paving the way for the decorative
Japanese tattoo which, in time, developed into the
advanced art form that is known today.
By the seventeenth century there was a more advanced
and generally accepted codification of tattoo marks used to
148 SKIN&INK
identify criminals and

outcasts in Japan.
Criminals were marked
with a variety of symbols
that designated the type
of crime as well as the
place where the crime
was committed. Outcasts
were sometimes tattooed
on the arms. A cross
might be tattooed on the
inner forearm, or a
straight line might be tattooed on the outside of
the forearm or on the
upper arm. In one region
of Japan, the pictograph
of a dog was tattooed on
the criminals forehead.
Other marks included
bars, double lines, and
circles, and they were
tattooed on the face and
arms. Tattooing was
reserved for those who
committed only serious crimes, and individuals bearing tattoo marks were
ostracized by their
families and
denied all participation in community life. For the
Japanese, tattooing
was a very severe
and terrible form of
punishment.
During this period the
art of woodblock printing
developed. When the popular Chinese novel
Suikoden, a Robin Hoodtype tale of rebel courage
and manly bravery was
released, it included illustrations with lavish woodblock prints that showed
men in heroic scenes,
their bodies decorated
with dragons and other
mythical beasts, flowers,
ferocious tigers, and religious images. Because of
the novels success, people throughout the country demanded the same
type of tattoos found on
the pages of the book. The

artists of the day were not
content just doing their
work in wood or on paper.
They eventually started
doing their work on human
skin, creating the art form
of Irezumi or tattooing.
These events had groundbreaking consequences.
Those who were once
woodblock artists now
became Irezumi tattoo
artists. They converted
many of their wood blocking tools to tools of tattooing, using chisels, gouges
and Nara ink on human
flesh. Some Japanese people still practice this form
of tattooing today, believing that these tattoos
have a deeper and
longer lasting color
than modern day
tattoos.
Some historians argue that
it was the
lower classes
that donned
and flaunted
such tattoos.
Others claim
that rich merchants, who
not allowed by
law to flaunt their
wealth in public,
wore expensive
Irezumi under their
clothes. Geisha girls and
courtesans of the day, as
well, procured these elaborate tattoos, thus adding
to their beauty.
By the end of the seventeenth century, penal tattooing had been largely
replaced by other forms of
punishment. One of the
reasons that decorative
tattooing became popular
was that criminals could
disguise their penal system tattoos with larger
decorative tattoos. This
time period is also when
SKIN&INK 149
the association of tattooing and organized crime began in Japan.

Tattoos were favored by gangs called Yakuza, outlaws, penniless
peasants, laborers and outcasts who migrated to Edo in the
hope of improving their lives.
The Yakuza felt that because tattooing was painful, it was a
proof of courage and because it was so permanent, it was evidence of lifelong loyalty to the group. Also, because tattooing
was illegal, it made them outlaws forever. The Yakuza began to
embrace body suits. The elaborate designs of body suits usually
represented an unresolved conflict and included symbols of
character traits the wearer wanted to emulate. A carp,

for example, represented strength and perseverance,
and a lion stood for courage. Such tattoos required
long periods of pain from the artists needles, endured
by wearers as a show of allegiance to their beliefs.
Nineteenth Century
Unfortunately for those who were tattooed, whether
criminals or regular folk, tattoos were outlawed in 1868
during the Meiji period. Japan was attempting to
Westernize, and the government, led by Emperor Meiji
Tenno, felt that tattoos were barbaric and distasteful.
People with tattoos became ostracized, regardless of
whether they were tattooed for illegal activity or as a
personal choice. Ironically, under the new laws,
Japanese tattoo artists were allowed to tattoo foreigners but not Japanese people.
The best tattoo masters established studios in
Yokohama and did a lot of business tattooing foreign
sailors. Their skills were so great that they attracted a
number of very distinguished clients, including many
European dignitaries. Another set of laws that helped to
influence Japanese tattoo art involved the prohibition of
the lower classes from wearing the ornate kimonos that
were worn by the elite and ruling classes. So, the lower
classes began to wear ornate body suits, or full body
150 SKIN&INK
tattoos, instead. These body suits generally covered the body from the neck down to the elbows
and just above the knee. This way, the commoners could wear ornate designs for themselves
and hide them under their plain clothing.
Twentieth Century
In 1936, fighting broke out between China and
Japan and almost all Japanese men were drafted into the army. People with tattoos were
thought to be discipline problems, so they
werent drafted, and the government passed a
law against tattooing. After that, the tattooists
had to work in secretagain. In 1946, after
WWII, General MacArthur liberalized the
Japanese laws due to the popularity of tattooing
among foreign servicemen. As a result, tattooing became legal again. But the tattoo artists
continued to work privately in the shadows, by
appointment. Japanese tattoo masters were
called Horis and they were considered the
best in the world at the time with their elaborate
and intricate tattoo designs.
Today
In the past decade, many younger generations
of Japanese have started getting tattoos. Many
of them are not going with the traditional
Japanese themes or designs. Nor are the using
the traditional way of getting tattoos done. Instead, they are getting
more Western styles such as tribal tattoos. They also tend to favor
Westernized tattooingdone with a tattoo machine and inks.
The old-fashioned way of getting a tattoo done via tapping is very
time consuming and costly (also very painful). A typical full-body suit
tattoo can take up to five years to complete and can cost upwards of $
30,000 USD. Despite the cost and the pain, these forms of traditional
tattooing still exist in Japan today, via exceptional artists like Hori-Hiro.
Although tattoos have gained in popularity among the youth of Japan,
there is still a general stigma against tattoos. Unlike the United States,
even finding a tattoo shop in Japan may prove difficult. In Japan, tattoo
shops are primarily placed in areas that are very touristy or that are U.S.military friendly. In general, tattoos are frowned upon, and many traditional Japanese establishments ban people with tattoos or refuse to
serve those who have tattoos. Japanese public baths and hot springs
usually have signs that state people with tattoos may not enter or warn
people that their tattoos need to be covered to enter the premises.
Conclusion
Throughout Japans roller-coaster history of tattoos, todays popularity of tattoos may appear to be just a current trend. However, history has shown that this unique art form dates back many thousands
of years. It has been outlawed and tampered with by various leaders.
What began as a brand to mark criminals, outcasts, and degenerates
has slowly but surely roller-coastered back and forth wildly throughout Japanese history.
Tattoos have been transformed into a legitimate and recognized art
form in todays Japan and in the eyes of many have earned the right
to exist.
SKIN&INK 151
INTERNATIONAL INK
ome argue that Shige of Yellow

Blaze in Yokohoma might now be
the best tattoo artist in the world.
He has certainly been ground-breaking in
the genre of modern Japanese work in
traditional themes and has shaped the
Western view of this style like no other.
Spectacular sleeves and body suits that
are full of life and color are his trademark,
and the influence of this humble and
rather shy artist on the international tattoo
scene cannot be overestimated. His specialty is a deep-reaching and complex
approach to tattooing, that of applying
just the right design to the prospective
wearer.
Skin&Ink is proud to present an exclusive interview with one of the most
important tattoo artists of our time!
When, almost fifteen years ago, a quiet
but determined Japanese man stood on
Swiss tattoo legend Filip Leus doorstep in
Lausanne to get tattooed, nobody could
know that this humble motorcycle
mechanic would one day be one of the
most influential tattoo artists of the early
21st century.
His elegant, detailed, and vivid compositions that are tailor-made for each client
have influenced the views of the world of
what an artistically and technically perfect
tattoo should look like.
Shige, who stayed and studied with the
Leu Family for several months back then
has, like no other, managed to blend the
immaculate techniques of the West with
traditional Japanese iconography and the
spiritualism of the East.
Far from being a mere clone of the
Swiss master, the aspiring work of an
indefatigable man has developed into the
vast oeuvre of an icon, creating tattoos
that candue to his unique choice of
colors and compositionbe immediately
identified as a real Shige.
But with the immense popularity of his
work, particularly in Asia, recently a new
curse revealed itself to Shige. Some,
mainly Taiwanese and Chinese, tattooists
started doing EXACT copies of his work,
to the degree that two full backpieces,
xeroxed down to the slightest detail,
were posted on the Internet and even
emailed to Shige by the proud artist!
152 SKIN&INK
Interview: Travelin Mick and SANAxxx

Photos: Yellow Blaze und Travelin Mick
S H I G E
THE BEST TATTOOIST IN THE WORLD?
Other fans have even come to put fake

profiles of Shige or his shop on social
networks such as Facebook or Instagram.
It might be meant as some kind of a
compliment to the original artist to be so
immaculately copied, but nonetheless,
Shige has not much appreciation for this
behavior. There are beautiful Chinese
designs, which one could use for a tattoo. Why dont tattooers with such talent
use the opportunity to look around their
own culture and create something entirely new? And claiming to be me doesnt
make sense either, right? I ask myself
again and againWhy?
But all desperation is in vain. Shige
simply ISwhether he likes it or nota
role model for the aspiring tattoo scene
in East Asia. Though he (who originally
apprenticed as a motorcycle mechanic for
Harley Davidson motorbikes) is sometimes seen at international conventions
and always surrounded by his eager fans,
not much is known in the scene about
this reclusive artist. He often abstains
from attending social occasions and
would rather draw in his hotel room or
spend time with his wife (and manager)
Chisato and his daughter Ayaka.
The man from Yokohama is said to be
extremely reserved and even withdrawn,
which, on the one hand is not entirely
wrong, but on the other hand, does not
show the full complexity of this incredibly
hard worker.
SKIN&INK 153
INTERNATIONAL INK
A few words to
everybody who
wants to get
tattooed by
Shige
He is, as you can
imagine, booked
out for a long
time, and he is
quite particular
about assignments he takes
on. He usually
prefers to work
on large projects,
sometimes on
foreigners, if
they are able to
come to Japan
repeatedly, speak
Japanese, or can
bring a reliable
translator. Shige
occasionally visits international
conventions,
such as London,
the Bay Area
convention, and
other international shows which
can be found on
his website.
Also, Shiges
apprentice Tomo,
who is actually
an incredible
artist in his own
right, is doing
beautiful work
too
Travelin Mick managed, with the invaluable help of his translator Sana, to win over the quiet-but-friendly artist for an interview in his beautiful shop in Yokohama. After countless visits
to Japan over several years, this article has finally taken shape.
So, now, exclusively for Skin&Ink Magazine, here is the interview with Shigenori Iwasaki, also known as Shige.
Shige-San, how did you become familiar with the topic of tattooing as art? Was there any influence from your family about
being an artist?
My mother, who painted aquarels herself, wanted to encour154 SKIN&INK
age me to paint once. But my interest as a child was more

focused on fishing. I was never allowed to watch TV, so I spent
a lot of time putting my nose into books on fish! When I started tattooing around 1995, there was, of course, no support
from my family. I lived out of my suitcase and tattooed in a
corner of the office of the Harley Davidson motorcycle shop
where I lived and worked. I had seen tattoos in imported tattoo
magazines and on bikers and was particularly fascinated by colorful American designs. I mail-ordered equipment from overseas and simply started
Skin&Ink: How did the mechanic Shigenori develop

into world-famous tattoo artist Shige?
Shige: In 1998, I met Chisato, who is now my wife.
With her support, I decided to open a private studio
and tattoo professionally. It was a radical decision.
All my hobbies and pastimes flew out the window.
For the past fifteen years, every day I have had only
thought about one thingtattooing!
You decided to take a rather radical and difficult
path. Would you recommend this way to newcomers now, or should they rather find an apprenticeship with an established artist?
Everybody has to live their own lives. Some might
be able to go this way. Others, for whom it might be
too difficult, should rather become an apprentice. I
cannot generally decide what is better. But if you
ask me, it is a big responsibility to engrave something into someones skin that will stay forever,
unlike a painting. Whoever wants to become a tattoo artist should first grow as a person before he
begins to tattoo. Thinking about my own mistakes, I
dont want anyone to repeat them.
In the beginning of your international career, you
worked with Filip Leu and attended many conventions. How did you benefit from traveling?
I reflected a lot about what kind of a tattoo artist I
wanted to become. By attending conventions and
meeting many people, I learned a lot about their cultures and lives. This helped shape the person now
standing in front of you. The traveling suited me
well, because I had always been flexible and could
benefit from any kind of situation. When I decided
to leave Japan, I jumped into cold water and lived
by the motto When in Rome, do as the Romans
do! I managed to soak up all the impressions that
offered themselves to me. And it was mainly the
freedom of imagination I liked about Europe.
You have now opened the shop, Yellow Blaze, in
Yokohama as a public tattoo studio and even work
with other people there. How did this develop and
what do you like about your situation?
For about five years, I tattooed from home and
founded a private studio in June 2000. Since
August 2003, Yellow Blaze has been in its current
location as a public shop. Tomo, my apprentice,
joined us in April 2009. Having my own studio
allows me to express myself entirely the way I want
it. On the other hand, my wife Chisato and I have to
organize everything ourselves. But I never considered working for someone else. It was always clear
that I had to stand on my own feet, despite the
risks. It motivates me immensely that customers
now come from all over the world, though most of
my clients still are Japanese.
Do you see a big difference between your
Japanese and Western customers concerning their
approach to choosing a design?
Well, indeed I have many Western customers
now, who want have Japanese designs tattooed.
Often they dont know much about the background
of the image, and choose it for its visual quality.
Actually, this happens among Japanese clients, too.
SKIN&INK 155
INTERNATIONAL INK
To some Westerners, details such
as weapons or ornaments seem to
matter more. It reminds me of
someone buying a car and picking
some extras from a list of options.
This often doesnt work, as I want
to leave the spirit and tradition of
Japanese tattoo untouched.
So, what is the correct way to
choose a Japanese tattoo design?
How do you proceed if a client
comes to you and wants to get tattooed?
For the planning of a tattoo, I
have a long consultation with the
client firstoften an entire day. We
go deeply into private matters. We
explore the innermost of the client
and talk about philosophical things,
for example. Then we decide the rough topic, whether it will be
a Buddha, a warrior scene, etc. For this, we need to talk about
what the client wants to expresshis own character, the history of his life, or his wishes? I try to find out about his motivation for the tattoo, such as his family relations. Pre-existing tattoos have to be balanced, as well. Then we go into details
which aspect of a certain warrior should be emphasized; the
braveness and cruelty or moral and emotional confusion, perhaps? Even in the same type of image, the tattoo can take a
totally different meaning and character, and it can be interpreted
in different ways on individual wearers. In the end, the clients
usually leave the details to me and I make an actual-size drawing of the tattoo. Most smaller details I fill in later during the
156 SKIN&INK
tattooing. Also, I prefer to work in

color, of course.
Which topics do you actually prefer doing? Is there a certain direction you want to go in your tattoos?
A tattoo is more than just artwork. It will stay with the client until
the end of his life, and it will influence him until and beyond that.
There is a certain magic, something
sacred, to it. Thats why I prefer to
tattoo mystic topics, Buddhist
scenes, or magical images of a
positive kind rather than warrior
scenes or gory and scary images. It
is my deep wish that my clients will
be happy about their tattoo during
their whole lives and can find peace
when they take their last breath. If
possible, I would like to tattoo not just the image of Buddha,
but also His soul onto my clients.
You also do beautiful paintings. Where do you see the attraction of painting, particularly in relation to tattooing?
I can express myself completely freely when painting without
having to care about a clients wishes. I am not a professional
painter, one who has to fulfil someone elses wishes. I choose a
challenge and then work on it.
And where do you see the common traits? Are there any
painting techniques you could use in tattooing, for example?
It is very hard to explain and maybe only colleagues who
tried both can understand it In principle those are two different worlds, but to widen my horizon for tattooing, painting
can be useful. For example, I cannot layer
colors in a tattoo like I can do in an oil
painting, but I can try to achieve the
same effect somehow. You can discover
something and then try to make it a reality as a tattoo. Traditionally, tattooing is
related more closely to drawing and
woodblock printing rather than painting,
but I want to try to incorporate painting
effects into tattooing.
You have exhibited your artwork several
times now in Japan and abroad. Are there
any plans for further possibilities to see
your work, maybe in the United States?
Yes, Horitaka of State of Grace Tattoo in
San Jos has invited me to take part in a
photographic show for the Japanese
American National Museum in Los
Angeles. It will be called Perserverance:
The Japanese Tattoo Tradition in a Modern
World and will be held from March 8 to
October 5, 2014. I will personally attend
the opening and bring some of my clients
there. To compile the photographs for this
exhibition, a specialist came to Yokohama
with a particular and very expensive camera the museum borrowed for him for the
creating of the exhibits.
Did you ever think about going beyond Japanese art and
trying different genres altogether?
Japanese art gives me so much inspiration, it seems
almost endless. I would rather not look somewhere else,
but want to try to focus my own views on Japanese art to
find new fields and angles for tattooing. I want to develop
my art rather than change it.
You recently started teaching seminars. What is it that
Shige has to say that other artists might want to hear?
I am asking myself this same question! Ha-ha! However,
I feel honored that others want to learn from me as I was
never formally trained myself! I am considering advice
from my friend Jeff Gogu, who is more experienced in
this. But we are different characters, of course. Jeff is Jeff.
Shige is Shige. So, our seminars will be different again. But
teaching drawing techniques and equipment, like ink and
needles, seems too shallow, and the basic meanings of
Japanese designs can be found in books already. I would
like to offer something unique,

something a tattoo artist can
appreciate coming from Shige...
In the beginning of our conversation you mentioned that when
you started tattooing, your hobbies flew out the window. Still, is
there anything you can do to
relax, something that has nothing
to do with tattooing?
I enjoy watching traditional
Japanese craftsmen at work, visiting temples, and looking at
Buddha statues. I dont have
many free days and prefer to
spend them with my family. Apart
from that, I wish I could play the
guitar again, like before I became
a motorcycle mechanic. But, of
course, I have no time for that.
Shige-San, we are very happy and grateful that you
found time for us to talk to the readers of Skin&Ink
Magazine.
Contact:
Shige
Yellow Blaze
Shigenori Iwasaki
1-15-6 SAZA BLD. #6
Ishikawa-cho Naka-ku
Yokohama City, Kanagawa 231-0868
Japan
Tel.: +81-(0)45-662-7807
Fax: +81-(0)45-662-7844
Email: shige@yellowblaze.net
URL: http://www.yellowblaze.net
Instagram: @shige_yellowblaze
SKIN&INK 157
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TATTOOERS POV with NATE BEAVERS
oday I will
be discussing
opaque grey inks.
There is much
debate over
whether or not the
opaque grey is a
legit form of black
and grey tattooing.
I have used several
of the pre-mixed
greywash sets out
there, but the
opaque grey has a
completely different
feel to it.
Sometimes it is
hard to tell how
light the wash will
become after healing in the skin. I
have applied the greywash the same
way every time and there are always
differences in the darkness because
of healing variables.
I think by using the opaque grey, a
lot of the guessing is eliminated. If
you saturate the tattoo, it will look
pretty much the same after healing
out. I am sponsored by Fusion Ink,
so I am using their set of opaque
grey. I have had no problem making
the tattoos solideven the lighter
shades. It goes in easily. I have used
some lighter grey tones from other
companies and they just dont
appear to be as solid. It seems as if
they become a bloody mess and
hard to differentiate between the
lights and darks.
It is good to use straight water in
your spray bottle for cleaning skin.
The water doesnt make the skin as
irritated and definitely cuts back on
the redness. (This is a good practice,
too, if you are interested in getting a
decent photo of the fresh piece.)
I think it is easier to use than wash
because the lightest washes always
just look like blood until healed. The
160 SKIN&INK
lightest opaque
greys are solid
without the blood
being a big factor.
Whenever greywash tattoos are
fresh, the blood
always hides
some imperfections and makes
the darker tones
appear to be even
darker. The healed
version doesnt
always end up
healing exactly
as predicted.
Photo Mary DAloisio
Opaque Grey Vs Greywash
The opaque set

doesnt leave you
guessing and rarely
needs darkening or
touching up. The
opaque grey is also
awesome for backgrounds. It can be
used to make some
really soft background elements
such as wind, clouds,
water, and smoke
and the list goes on. I
have done several
portraits using the
opaque grey set. It
makes it like a paintby-numbers tattoo, in
a way.
I tattooed a portrait
of Vincent Price
recently and really
like the way it came
out. It gave the portrait such a ghostly
look which made it
so much more
impressive. The
opaque grey
set works very well
for vintage photographs, too. It
has overtones
of antiquity in the ink. It works well when there is a hefty
amount of white ink for highlights, as well. I did a portrait of a

cat, as well. It was again, very soft and smooth, but still had
enough of the darks for texture. The darkest darks stand out
well against the opaque grey.
It is good to lay down all the straight black areas first to get a
lot of contrast. I think most artists cut back on straight black
and this results in a not-so-crisp finish. A good tattoo should be
easy to read with clarity from a distance. I am constantly trying
new techniques in its use. It is becoming very popular to use
greys and then add color to make it pop. I like the way it works
with color accents, as well.
I have an example of a wolf I made recently that has mostly
opaque grey with color in key points. I only added color in the
eyes, nose, mouth, and leaves in the background. Those bits of
color made it pop. I believe it wouldnt have been as impressive
without the color. The eyes almost glow. The orange and yellows
work well with the grey. All shades of blue seem to work very well
with grey tones, too, especially in background areas of a large
scale piece. It is very important to have the straight black in the
heavy shadowed
areas to make it
work. As with any
tattoo, placement is
a key part of a
good tattoo. Try to
make the image
work with the muscle structure. This
helps to give it a
more natural and
flowing appearance. I would like
to do more tattoos
this way.
It is fun but challenging working
with opaque greys,
however, it is good
practice to keep
up-to-date with
new innovations in
the tattoo industry.
Never allow yourself to get complacent in your practice. Always strive
to be the best in
your field. The tattoo industry is
becoming very
large and there are
plenty of big fish in
the sea ready
to move up the
food chain.
Contact Nate at tatpov@skinink.com

SKIN&INK 161
TATTOO LIFE
Photography by GiGi Elmes Article by Richard Edson
mack in the middle of Queens, New York, is the appropriately

named Middle Village. A tree-lined Metropolitan Avenue runs
past the Lutheran All Faiths Cemetery. Across from the cemetery,
on the corner of Metropolitan and 71st, is one of the last surviving taxidermy shop in New York City, the Cypress Hill Taxidermy Studio.
This was my fathers shop, says John Younglatis, owner and sole
taxidermist at Cypress Hills. Hes a lean, goateed man in his 50s with a
warm, easy smile. Originally, it was in Cypress Hills, Brooklyn. Thats
why its named that. I moved here a year and a half ago.
Taxidermy is a relatively new art form and social phenomena. The
Egyptians mummified animals to be buried with the Pharaohs but it wasnt until the 1800s when naturalists and biologists began preparing animals for exhibits in natural history museums sprouting up all over Europe
and America that real advances began to take place. The 1851 Grand
Exhibition in London featured the work of John Hancock, a British
ornithologist, who displayed birds and small woodland animals in lifelike,
anatomically accurate poses. The fashionable upper and middle classes of

London went nuts for mounted animals and taxidermy grew from there.
The Milton J. Hoffman Company in Brooklyn was the biggest
Taxidermist in America, John says. They also made and sold animal
parts like eyes and tongues. They were one of the first to make them. One
day, my father walked past the store and he stared at the mounted elephant in the window and he knew right then and there that being a taxidermist was what he was supposed to do. This was in the early 1940s
and he was sixteen years old. He dropped out of high school and got a
job as an apprentice taxidermist.
Johns dad worked with other taxidermists for fifteen years before
opening his own shop in 1958, the original Cypress Hills Taxidermy
Studio in Brooklyn. It would remain there for fifty-three years.
I got started working with Dad, John says. Id work after school. I
couldnt wait to get there. And summers. I loved it. Everything about it.
The animals, the people, the art. Taxidermy is part of an American tradi-
JOHN YOUNGAITIS
A DYING BREED
162 SKIN&INK
tion. You kill it, you eat it, you mount it. People
have lost touch with the process of where their
meat comes from. You buy a piece of meat in
the supermarket and you dont even know
where it came from.
Up until the 1970s, most of the work for
Cypress Hill came from hunters.
There used to be a lot more hunters, John
says. Not so much anymore. Back then there
were five or six taxidermy shops in Brooklyn
alone. Now Im the only one left in the entire
city. I get restoration work. Some hunters. And
people who want their pets mountedcats,
dogs, rabbits. They love them and want to keep
them around. Im a little bit of a grief counselor.
Its a delicate conversation. Hunters are different. They understand the process. With pet
owners, its a memory. With hunters, its a story
about the hunt. Usually, its a big kill. They want
it around for bragging rights. You know, a
macho thing.
The tattoos on Johns chest, arms, and back
are a testament to his love of animals and to
the art of taxidermy. They are also a reminder
of, and remainder from, his days as a motorcycle badass.
Tattoos are cool, and thats why I have them.
It used to be just the bad guys, John says,
chuckling. Tattoos were part of the biker life
style. It was what separated us from the normal
citizens. We were the only ones. And the military. People who had ink had a darker edge. We
felt like we were on the fringe of society. He
laughs. Maybe thats because we were. He
pauses. At twenty you want to be a bad ass,
but now tattoos have become so normal its lost
its mystique.
John has a 10,000-year-old cave painting
tattooed on his back. He found the photograph of it in the National Geographic. Two
cavemen hunt large deer-like animals with
bows and arrows.
It appealed to me because I prefer bow to a
gun. I like to hunt. Why not? I like the fresh air.
I like being in the woods. I like the challenge.
Its man against nature. And the cave painting
looked so cool. The scroll-type work in front is
something I designed because its tribal, but a
little different. The wolf and eagle on my chest
are symbols of strength and power. The
snake? I dont know. I just like snakes. And the
paw in the middle of my chest is for three of
my dogs. W is for Wolf, B for Brutus, and R for
Rookie. Each one was special and meant a lot
to me. The deer skull? Thats taxidermy.
A five-and-a-half-foot brown bear stands in
the showroom part of Johns shop. He and his
dad built it about ten years ago.
My dad taught me everything I know, John
says. He worked right up to the end. Wed
SKIN&INK 163
TATTOO LIFE
argue like any father and son, but it was always about the work. We
were friends. I miss him all the time.
John is that rare commoditya man who clearly loves his work.
A full deer or bear takes about six months, he says. A bird or
fish maybe a month. With either you have to butcher it, skin it, take
measurements, salt the skin, tan it, order body forms, and then
finally assemble the animal. Taking an animal apart is mechanical.
Putting it back together is an art. What can I say? Its a living. I like
doing it. Its my domain. Its where I feel most comfortable. Nobody
bothers me. I do taxidermy and Im in my own world.
164 SKIN&INK
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JOURNEYSENDTATTOO.COM 804 622-7794
r
o
s
s
e
f
o
r
P
The
f
o
e
g
t
o
r
P
and
Tattoo Peter
Interview by Marco Annunziata
166 SKIN&INK
ts been almost forty years since The Professor Bill Loika began his career as a tattoo artist as Tattoo
Peters protg. Back in the day, the tattoo world was still an underground movement run by sailors and
scoundrels, equal parts tough and romantic. Bill has lived through tattooings transformation, and
although hes not too happy with the way things are going now, he still kicks ass by working ten hours a day,
five days per week. I met him at the Tattoo Peter shop in Amsterdam, one of the oldest tattoo shops in Europe
and the site of his beginnings into tattooing.
Skin&Ink: You ran your own tattoo shop in Deep

River, Connecticut, for about twenty-five
years. When and why did you decide to move
to Europe?
Bill Loika: I lived in Amsterdam for about five
years from 1972 to 1977, but I decided to move
to Europe six years ago. My wife is from the
Netherlands, and we met here in Amsterdam in
the 1970s. We moved to America for about thirty
years and I had my own shop the entire time.
When our kids were grown up and living by
themselves, we decided to go back to the place
where everything started. Also, health insurance
is much more affordable here. Oh, we also lived
in California for a couple of years, where I worked
at Sacred Art shop in Chico, but we didnt like it
because its too hot down there.
What do you like most about living in

Amsterdam?
Its the perfect city for me. Some people
dream about moving to Florida, playing
golf, and staying on the beach all day.
My idea of retirement is living well and
continuing to work. Amsterdam is an
amazing city to live in. I have a great
SKIN&INK 167
Do you remember who did your first

tattoo?
Of course, Ronnie Dagle did it. In
those days tattoo shops were banned
where I used to live in Connecticut,
so I had to go to Providence, Rhode
Island, to get tattooed at Ronnies
Tattoo Shop by Ronnie in person. His
shop was first established in 1955
and its still there.
How did you start tattooing?
I was living in Amsterdam and I was
very interested in this art. In those
days, it wasnt like how it is now. Im
pretty sure that in Amsterdam in the
seventies there were only three
young kids that wanted to learn:
me, Molly, and Henk. The legendary
Tattoo Peter helped me get started
with some basic advice and a little
life here, and I work at one of the oldest tattoo shops in the world.
Its in the Red Light District right near the water and sea port. You
can see sailing ships if you walk up the street. Honestly, is there a
better location for a tattoo shop?
Is there anything that you miss about living in the United
States?
I definitely miss hanging out with my daughter. Also theres a
bunch of stupid things like some food that I cant find here, and
driving around in big cars.
What are your first memories about tattoos?
One of my earliest memories involves our next door neighbor,
Tattoo Charlie. This old Scottish seaman, all sleeved up, used to
walk around in his wife-beater all the time. I was eight or nine
years old and I was just fascinated by his look. I used to stare at
his tattoos and try to figure out what they were. I also saw a lot of
sailors growing up. Where I lived, a navy base and tattoo shops
were nearby. All these sailors would have fresh tattoos. And I
remember going to the park with my dad and there was this sailor
with a fresh tattoo. He had just gotten it done that day. The sailor
let me touch it and look at it. It was incredibly bright, and I was so
amazed by it. Those are some of my earliest memories of tattoos.
168 SKIN&INK
equipment. Of course, I started tattooing my friends. Then I went

back to the United States and I got a job at Jack Armstrongs shop
in Columbus, Georgia. That was my first real job at a tattoo shop.
How important are drawings skills for a tattooer? How did you
learn to draw?
Im still learning. Drawing is a skill like playing the guitar, you have
to practice every day. When I started I didnt need to draw because
my customers would take a flash from the wall and ask me to do it.
But nowadays, tattoo artists who dont practice their drawing skills
are going to have a harder time because people are really getting
into customized tattoos. I cant draw everything. I like to draw traditional stuff like ships, skulls, and daggers and this is what my customers always ask for. I cant do portraits or realistic stuff because I
am not really interested. I love my job because Im in control.
Again, its like music. If you play guitar and you like the blues, I
think you have to focus on blues music and learn how to play it and
ignore the other genres because that will only distract you.
Talking about musicwho selects the music to play here at
Tattoo Peter?
We take turns. We play

a little bit of everything.
A lot of blues, some
metal, and hard rock
classics. We all love
good music here and
we would like to go to
concerts together! Too
bad the music scene is
Amsterdam is awful.
Young kids here love to
go to raves and destroy
their ears with trance
music and shit like that.
Do you play music
yourself?
Just for me and my
wifes amusement. I play some blues guitar
and harmonica when Im home. I dont have
much time because being a tattooer is a full
time job. I am at the shop ten hours a day,
drawing and tattooing. You know, I am too
old to do too many activities, so when I go
home I just want to have dinner with my
wife, relax on my couch, and watch a
movie!
What about painting?
Yeah, I do paint tattoo flash when I am not
tattooing. There is this beautiful book printed in Italy out now with some original paintings that I did together with Dave Gibson
and Danny Sawyer. We painted 150 sheets
of flash and we are all very proud of it.
Do you travel?
I like traveling. Going to conventions
is a great way to travel. I dont like
conventions where I have to pay the
promoters just to be there and make
money for them. Of course, I dont go
to conventions just to make money. If
I want to make money I can just stay
in Amsterdam and work at the shop. I
go to conventions to have a good
time, work on fun tattoos, and meet
up with all my friends.
When you go to conventions you
probably see a lot of styles that are
very different than the traditional
ones. What do you think about realistic style tattoos, for example?
Undoubtedly, some of them look
beautiful in pictures taken when the
tattoo has just been finished. This
result, however, is not eternal. There are no lines, and colors fade
away pretty fast. In my opinion, traditional tattoos that are bold,
clean, and readable, age in the right way. This is what I enjoy doing.
What other artists do and what other customers want is their fucking
business!
Have you seen any changes in the tattoo industry that concern you?
Probably just the fact that tattoos are becoming extremely
mainstream! I dont like to be nostalgic but I really miss the
old days when tattooers and people with tattoos used to be
at the fringes of society. There are thousands of young kids
today out there who think they are masters after they got a
tattoo machine at a convention or on the Internet. Just in
Amsterdam there are over seventy tattoo shops. When I
started tattooing in 1975, there were probably twenty tattoo
shops total throughout Europe! One good thing is that even
if there will always be people who ask for their girlfriends
initials, or stars, or tribal tattoos, I would say that in general
peoples tastes are getting better. Traditional style is getting
quite popular lately, and this makes me very happy.
What about all these tattooers on TV?
I dont like tattooers who take themselves
too seriously and act like divas on TV. I
dont take myself real serious even now
that Im getting old!
Do you consider anyone your mentor in
the tattoo world?
There are a lot of people who helped me
and gave me inspiration during the years.
If I had to make a list, it would be too
long! Tattoo Peter obviously helped me a
lot in the beginning, then Paul Rogers,
and of course Jack Armstrong, who gave
me my first job. As for influences, I
always looked through the sketchbooks of
Dave Gibson, Mike Malone, and Bob
Roberts.
Tattoo Peter Amsterdam

Nieuwebrugsteeg 28 - 1012AH
Amsterdam 020 6266 372
SKIN&INK 169
Damon Conklins
Super Genius Tattoo
On Seattles Capitol Hill
Article and Photos By Mary dAloisio
his month Skin & Ink traveled to the Left Coast to take
Damon Conklin up on his
invite for a good time at Super
Genius Tattoo in the Capitol Hill
neighborhood of Seattle. I flew into
Sea-Tac, leaving behind 10-degree
spring weather of the Midwest and
8-foot snow piles for the milder climate of the Pacific Northwest and
friendly people. I packed light, with
every intention of trying to keep up
with Damon and his die-hard work
and party ethic and seeing/experiencing everything we could in the
two-day visit.
The promise of the temperate
marine climate of the Pacific Northwest

totally delivered as I hit the newly operational (Okay, so its been there since 2009.)
Light Rail and paid the $2.75 to ride in the
quietest and cleanest public train Ive ever
experienced while deep blue skies and
huge fluffy clouds rolled by. In the distance, Mount Rainier presided over
the clean and efficient city. The train delivered me to downtown Seattle and I
walked, what looked like a short distance,
up to the Capitol Hill neighborhood. I forgot to factor in the uphill nature of the
geography and I was sweaty by the time I
reached Super Genius Tattoos doorstep (a
really, really good feeling after a long
Midwestern winter).
Damon Conklin
I was ushered in by apprentice, and
seemingly manager of the universe,
Nicki Rudnicki who took my bags and
introduced me around. Noting an
absence of the huge Afro and resonating
voice, Nicki assured me Damon would be
there shortly. See there on the couch?
(pointing to a pretty girl in a long skirt).
That is his client for today. Hes bound to
be around soon.
I immediately felt at home in the openconcept studio. Its set back off the street a
bit, and the storefront is actually inset
inside the building that houses it but the
guts of the shop have the raging heart of a
lion. The eye takes in the super high ceilings and the spacious layout before lighting
on the 5-foot tall oil paintings, crushed vel-
Ashley
Wollaston
Mike Gordillo
vet and carved wood kings throne,
walls lined with rich wooden bookshelves packed to the gills with tattoo art books, bibles, and the
like. The leather couches seemed full
of people waiting to get to the full
tattoo chairs and tables. Eclectic
sculpture accented the nooks and
crannies everywhere. I looked up and
found their paint studio. The place
was packed with canvas after canvas, religious imagery, and old and
fresh palettes.
Just when I thought I could spend
172 SKIN&INK
a lifetime in the space and not see

it all, Damon Conklin came in with
his luminous smile preceding him.
Damon is a charming, tall, and exceptionally good-looking man. His clothes are always
bright and stylish and his smile could power the entire Capitol Hill neighborhood. A 20-plus
year veteran of tattooing, Damon has continued to push himself artistically, and he has the
spirit and demeanor of an awe-struck kid. His respect and excitement for tattooing is nothing
short of moving. He is a spiritual man and is a fiercely devout Christian.
While tattooing is an art form and a community that tends to embrace every kind of oddball
misfit and rebel,
Damon, a tall black
man who loves Jesus
and electronic dance
music, somehow finds
a way to stand out
and at least a head
above the rest. It is
wonderful to get an
opportunity to be
within hugging distance of him.
While Damon set
out to getting prepared for his client, Nicki introduced me around. Super Genius, in total, has
ten artists operating in opening and closing shifts at Super Genius seven days a week, from
noon until 10:00 p.m. Damon tattoos alongside his hand-picked crew of high energy, super
creative folks. Brad Wooten, Blake BTK Thomas Kennedy, Kyler Martz, Justin Trey Boyle,
Peter Falcone, Mike Gordillo, Ashley Wollaston, Thomas Graham, Axi Goregots, and Damon
man the tattoo machines while Nicki Rudnicki and Colin Bryant manage the shop while
learning the art form from the Super Genius talent pool.
Conversations throughout the huge open studio varied from station to station. I wondered how Damon could inspire a group of such diverse artists to find harmony together.
Texture and biomech artist Brad Wooten took a moment to show me the collaboration he
was doing via the Internet with biomech tattoo genius (and fellow Midwesterner) Dan
Hazelton as well as show me some deliciously textured and anatomically flattering tattoo
pieces hed completed.
Super Genius
Axi Goregots
Ive learned a ton from Damon already. I
really like this place, and the artists here support each other and push each other every day.
I can see a lot of growth in my own art already,
said Wooten.
Working with Damon is a constant source of
SKIN&INK 173
Peter Falcone
inspiration. Hes the most laid back and chill
boss Ive ever had.
Brads booth neighbor and buddy Blake
BTK Kennedy was working on a realistic portrait of King Diamond as Ashley Wollaston was
demonstrating to tattoo novice Collin Bryant
how to pre-blend and make a color
reference. Kyler Martz walked by to playfully
tease us and grab a drink, and I followed him
back to his area only to see a traditional butt-
Kyler Martz
174 SKIN&INK
BTK
Things I did not know about Seattle:

When asking for directions, always be sure to determine
if its uphill or downhill before agreeing to walk.
Eating a bag of Dicks is a good thing in this area.
Dicks Drive-In has survived since 1954, serving 100 percent pure beef burgers, hand-cut French fries, and handwhipped shakes.
Weed is legal (ish) in Seattle. You dont even have to
whisper about it. Just announce that you would like to have
some and a soccer mom will appear out of nowhere to grant
you your every weed wish (Thanks, Bud-Lady!).
If you are trying to stand out in the Capitol Hill neighborhood, youre going to need to work harder than being heavily tattooed with dreads. Modified people are everywhere
and its just no big deal. A man wearing a skirt of doll heads
while walking his daughter to school is conservative here.
Super Genius artist Blake Thomas Kennedy, aka
BTK, cannot only tattoo very well but is also a pretty
good rap artist.
Sleepless in Seattle was probably trying to keep up
with Damon Conklin. The man never sleeps and just keeps
on producing whoa art.
Damon Conklin walks unreason
SKIN&INK 175
Brad Wooten
Justin Trey Boyle

176 SKIN&INK
heart he was making. It was so cool to see such

a bold and clean American traditional tattoo
artist fit in so effortlessly with the other genres
of tattoo art under the Super Genius flag.
All of the artists at Super Genius are innovating
and moving forward under the leadership of
Conklineven if their artistic style is completely
different. Perhaps constant growth eliminates
petty rivalry and is the source of their harmony.
Perhaps it is the weed. Whatever the case, it
works beautifully.
We got through the photos for this feature and
Damon, BTK, and I grabbed dinner at the local
Lost Lake Cafe on the next block off 10th
Avenue. I had the most delicious steak and eggs
ever. We topped off the very long day by dancing
until 4 in the morning at the nearby club Q, and
then we headed back to the art studio at the
shop. Any reservations I had about being on the
streets at that hour were quickly squashed as
everybody we saw smiled and waved, Of course,
everybody knew Damon.
Check out the amazing artists of Super Genius
Tattoo on your next tattoo road trip, and give
Damon a big-ole high five for me.
Thank you for the exquisite time, Super Genius
Tattoo!
Super Genius in Seattles Capitol Hill

1419 10th Ave.
Seattle, WA 98122
(206) 322-1630
www.seattle-tattoos.com
4
1
0
2
T
S
U
AUG
!
R
E
N
N
I
W
1st Place:
RYAN SHERWOOD, Shocker Tattoo Company
302 Lark Street Albany, NY 12210, 518.426.TATS (8287)
shockertattoo@gmail.com
2nd place:
Michael Brito, Phase II Tattoo, 371 Henderson
Hwy, Winnipeg, MB R2K 2H2, Canada
Photograph by Mont Vert Studio
In The Next Issue Of
...And So Much More! On Sale 10/21/2014!
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OVER

October 2014 Issue 153

very year when putting together the Year End Annual

Mystic Owl Tattoo, Marietta, Georgia

32. Tattoo Treasures with Dana Brunson

The artist behind Homeless Ink.

The Quest for Brooklyns T Strongest Tattooed Arm

Kustom Culture Vultures!

This is the Big One, London 2013.

134. Flash Contest

Vintage Body Suits of Japan

Shige: The Best Tattooist In The World?

John Youngaitis: The Last Taxidermist

Bill Loika: The Professor and

Damon Conklins Super Genius Tattoo in Seattles Capitol Hill

Features: Ink Bash,

INK AROUND THE WORLD

Article and photography by Peter Domorak

INK AROUND THE WORLD

INK AROUND THE WORLD

pieces, and he allowed members

things a tourist needs to know. Nakul has worked in Kathmandu

TATTOO TREASURES with DANA BRUNSON

This year was truly historical at

Coleman. Both are proud members of the BTC. At lasta real

Facebook or, better yet, join Bristoltattooclub@live.co.uk.

Deeply personal, unapologetically distinct, strong and confident.

Controse pieces are rich in symbolism, and in style, allowing

Shop online at www.controse.com

his month Skin&Ink traveled down south to the land of

We are a full custom studio that provides a wide array of art

Vince & Tara

ated to a full-time tattoo artist in January 2013.

And now for

Join An Elite Line-up of

Ink Or Swim Guests have FREE access to all of the

For cruise dates, artists, itinerary and rates INKORSWIMTATTOOCRUISE.COM

Article by Benjamin Cohen

American artists who experienced very little downtime over

artists to design their own Rockstar

Lalo and friend.

The New York City Convention is a one-of-a-kind experience. For Skin&Ink,

TATTOO TREASURES with DANA BRUNSON

White dental mallet bears

ever know for sure which machine came first to be used

Jeff Saunders, Mean Streets Tattoos, Bensalem, PA

arc is a very unique and highly controversial artist who

Everything just happens. A backpiece takes

you invite trouble for yourself by choosing such a name?

now. I see nothing positive behind it in any way.

Marc Riedmann little-swastika.com

There are a lot of homeless people in Miami Beach. I

People ask me why someone would want to put a portrait

person, its just a piece of paper that is warm and

interview them. Its more like I am hanging out with them.

Ive begun reaching out to a homeless organization about

Museum of Modern Art and see tattoos. Tattoos should be recognized

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