What else I do

I treat tattooing as a craft. That means I am not fixed on two styles — and it also means I will say plainly when something is outside what I do well.

Engraving

A style drawn from the engravings in old books, historical illustration and coinage. It is built on fine linework, dense hatching and a precise structure of lines. Where traditional uses solid black, engraving uses a system of thin lines that add up to tone.

It suits the forearm, the calf and anywhere the motif has room for detail. Bear in mind that fine hatching darkens slightly over the years — which is why I do not draw it too tight.

Dotwork

Instead of solid shading or lines, a field of dots that together make the image, the texture and the depth. It is the slowest technique I do — the density cannot be rushed. In return it has a character you cannot get any other way.

Ornamental

Symmetrical patterns that follow the shape of the body — a band around the arm, a piece across the back, geometry on the forearm. Ornamental is not there to tell a story; it is there to frame the body. It combines well with dotwork.

Blackwork and lettering

Solid black areas, silhouettes and script. With lettering the same rule applies as with traditional: the simpler the typeface, the better it ages. Fine calligraphic scripts look superb for the first year and start closing up after five.

What I do not do

Realism. Not because it is a bad style, but because it demands entirely different preparation, a different way of looking, and full concentration. Doing it alongside Japanese work would mean doing both by halves. If you want a realistic portrait, I will gladly point you to someone who gives it their whole attention.

I also do not copy other people's work. A reference as inspiration, yes — an exact copy of another artist's tattoo, no. That is unfair to them and to you.