Zee (@zeetattoo) creates fineline floral tattoos in South Korea. We chat to the tattooer about his first tattoo, love of black ink and the flowers that inspire his work…
Why did you want to become a tattoo artist? I wanted to become an artist becaue I like to meet people. Tattooers can meet new people all the time and at almost every appointment.
So, I thought I would become a tattooist as I also liked the idea of engraving a person’s memories, resolutions or their favourite things onto their skin.
How did you become a tattooer? Before I was an artist I worked as a noncommissioned officer of the Republic of Korea Navy for four years. While working I had the opportunity to get a tattoo.
When I got my first tattoo I was really attracted to the tattooists as they had a completely different life to the one I had back then. I started learning about tattoos and how to tattoo from the person who gave me my first tattoo.
What do you like to tattoo? I like to tattoo big colourful flowers in black ink.
What inspires your designs? I buy a lot of fresh flowers and use these as references for my drawings. I also refer to the work of other tattooists a lot of the time.
However, I think the best thing for me to use is the flowers, because even the same kind of flower has differences when compared to others in the bunch. Each type of flower has things that only they have and this inspires me.
How would you describe your style? There are various curves on the human body and I use their flow to make big and small flowers and leaves. I place these on the body and use very thin lines to create each piece.
Your tattoos are mainly in black, do you prefer this over colour? I personally think that black ink is better than other colours, but I don’t think it’s as fashionable. It’s not that I don’t like colours but my favourite colour is black.
Can you tell us about the process behind linework tattoos? I collect a huge amount of information to help me prepare just one design. I bring all this together into my drawing and when I’m happy with it I start painting. When preparing the design I tend to pay a lot of attention to the overall arrangement.
What do you love the most about being a tattoo artist? My favourite thing is meeting new people and tattooing lets me do that. I also love visiting new countries and experiencing their cultures and food.
When in your career have you felt the happiest? Now that I think about it, I think it was when I first started tattooing flowers. At the time I wasn’t sure if I was happy but now I think I definitely was, especially as I got to learn something new too. Of course, even now I am studying constantly.
Do you have any guestspots or travel planned? I don’t have a definite plan yet, but I want to meet new clients and experience new cultures. It’s always an interest of mine.
What about your own tattoos are you a tattoo collector? I have a lot of tattoos that I’ve done on myself. I tend to try new things on my own body before I do them on anyone else. Also if I like the work of a tattooer I try and get a tattoo by them.
Follow @zeetattoo for more of his amazing floral tattoos.
Tattoo enthusiastAdriana de Barros, The Tattoo Journalist is an author, editor and photographer covering all things fine art and tattoos. Her unique interviewing style sets her apart, making her work with legends of the tattoo world a must-read. In this exclusive interview we chat to her about her career, tattoos and the future of tattooing…
A portrait of The Tattoo Journalist.
How did your fascination with tattoos begin? As a child, I remember seeing postcards and books with tattooed 19th-century women and circus performers from “Freak shows.” Outcasts drew me in because they were different.
I would have been heavily tattooed as a teenager with old-school sailor tattoos like swallows and other designs, if it hadn’t been for my severe pigment allergy. As a result, I had to wait a few decades longer for inks that were more natural and suitable for sensitive skin.
Illustrative body art by Makoto.
Which genre of tattooing are you drawn to the most? I enjoy all types of blackwork, from abstract to illustrative. Anything done well in black ink, positive or negative space — I’m drawn to the simplicity and ancient qualities of black ink and how it remains relevant and modern.
An inside look at the first issue of “Ta’too,” featuring Daniela Sagel’s artwork.
When did you get your first tattoo? Do you still like it? I got my first piece approximately five years ago, and it was a little heart in a less prominent location to allow me to test my response to the ink before getting a larger piece. Although the tattoo has sentimental meaning, I would not call it as attractive on an aesthetic level; I prefer more solid art like my backpiece.
A black-ink piece by Makoto.
Do you consider yourself a tattoo collector? No, because I prefer to have a single flowing piece of art on my body. It took eight hours to complete an ornamental floral work on my back, and I’ll finish the ribs, shoulders, and arms in time. As a collector, the only thing that comes to mind is tattoo books, which I acquire for study and collection.
An interview with legend Freddy Negrete at Hollywood’s Shamrock Social Club.
Do you prefer being tattooed at conventions or an artist’s studio? I’ve had both, but I prefer a calmer, quieter setting with more one-on-one interaction with the tattooist. As a spectator or member of the press, I enjoy conventions because they allow people to see tattooing on a larger scale and meet international artists. However, event spaces are challenging to navigate for artists or clients; it is a hectic environment.
The Tattoo Journalist’s photographs of Freddy Negrete.
What is it about tattoos do you think that makes them so appealing? When they were underground, it was their edge and mystique. With the increased availability, I feel that the permanent-ink factor on the skin may be a lifelong commitment that empowers you. It becomes more than a decorative item; it imbues you with a traditional, spiritual sense.
It has the potential to transform you positively so that your inner sentiments become visible on your outer; you become more yourself.
The debut edition of “Ta’too.” Cover art (head tattoo) by Gordoletters.
What inspired you to write your book Ta’too? Its goal is to offer an alternative to mainstream publications by being transparent about the tattoo community, the art, the history, and the human side of the narratives, rather than following internet trends. The first edition featured avant-garde tattooists ranging from Makoto to Oscar Hove.
The second covers tattoo legends from Charlie Cartwright to Kari Barba based in the United States, individuals with 30- to 40-year careers who paved the way for the rest of us. Younger generations frequently overlook them, and I believe they deserve to be featured and told their stories, which speak volumes about the industry’s growth.
The third will be completely different, focusing on raising tattoo awareness in other parts of the world.
On the left is a painting by tattoo queen Kari Barba, which appeared in the second annual of “Ta’too.”
You’re the editor of Scene360. Can you tell us more about this publication? On December 1, 2000, I launched Scene360 as a digital arts and film magazine. It merged several art disciplines into a single publication that did not exist on the internet at the time.
It piqued readers’ interest right away. Film festival coverage (SXSW, Cannes), interviews with painters (Gary Baseman, Helnwein Gottfried), photography (Carl de Keyser, Kavan the Kid), and poet profiles were among the early highlights.
Scene360 was developed with the help of various contributing editors and writers. We included graffiti and tattoos, and as readers expressed interest, we added additional features. For the last decade, tattoo art has been one of our specialties, and Scene360 has shifted its focus entirely to tattoo content. It was nothing more than a natural occurrence.
Lyle Tuttle, the father of modern tattooing, during the Santa Rosa expo in 2019.
What moment in your career, so far, are you most proud of? That’s a difficult one to answer. Having previously worked as a graphic designer and web developer, it took around 15 years of hard work to be recognised for a Webby Award for Best Art project in 2015 without any financial assistance or ties to a large firm. The majority of online ventures require funding to succeed. I didn’t have any; everything was self-sufficient. It taught me that I could achieve what seemed impossible.
The second happened not long ago, when I was at the Santa Rosa expo and had the honour of meeting legend Lyle Tuttle for the first time. I became engrossed in the moment, listening to his stories and absorbing his historical knowledge for hours. Sadly, he died a few weeks after we met, but that day stayed with me; he showed me that I was on the right track, that tattooing would be my life’s purpose. I am highly grateful to Lyle!
Shane Tan’s tattoo art, one of the Scene360 interviewees.
Do you have a favourite tattoo artist? Responding to this will send me to hell. I’m not going to name my favourites, but they include Maud and Gus Wagner, Sailor Jerry, Ed Hardy, Horiyoshi III, Chris Garver, Gakkin, Shane Tan, Hanumantra, and Makoto.
Is there an artist you’d love to interview? Ed Hardy.
Kari Barba during her 1982 first convention, held on the Queen Mary in Long Beach, California.
Which female tattoo artists do you admire? Along with Maud Wagner, who is credited with being one of the first female tattoo artists in the Western world—a pioneer and true inspiration—I love Kari Barba, who committed her work in the 1980s to promoting gender equality and has remained a tattoo force ever since.
The development of a bodysuit by Shane Tan.
The tattoo world is constantly changing; where do you see the tattoo industry going in the next 10 years? I believe we are in the midst of a new tattoo renaissance. East Asia is reviving—Japan, China, Singapore, and South Korea. Growth will occur in the West as well.
Creatives tend to feed off one another; if one region of the world excels, it pushes other areas to improve. Even though there are many tattoo artists today, the ones who will survive in the long run will be true artists with quality expression, composition, and technique.
In terms of a personal wish for the future, I hope that ink technology advances so that coloured pigments appear opaque and bright on darker skin tones.
TattooistSergei Titukh from St. Petersburg, Russia works in one of the most stylish and atmospheric studios in the city centre – INKME. Born in a small town in the Rostov region (South of Russia), he moved to St. Petersburg in 2005 to study and never left. Read on to find out more about this incredibly talented blackwork artist…
What inspired you to become a tattoo artist and how did you become one? In 2005, when I moved to St. Petersburg I entered the Maritime Academy, but six months later I realised that it didn’t interest me and I changed to the faculty of design. At university there were practical classes in drawing and painting that gave me a good foundation for artistic development. It wasn’t until I started tattooing that I began to develop my drawing.
Then in 2007 I became interested in rock music, which for me was the first step towards tattoo culture. I wanted to buy a guitar and grow my hair long while I started going to rock gigs. The underground atmosphere really pulled me in – I wanted to be a rock star. I did become one; I bought a guitar and gathered the band together. At that time I wasn’t ready for tattooing, but my hobbies gave impetus to it.
How did you become an artist? I have drawn throughout my life and always had friends telling me to become a tattoo artist. But my way into tattooing was a long one. After uni and my rock years, in 2010 I decided to find a tattoo shop where I could learn, but the tattoo training was too expensive. At the time I didn’t have much money, there was a cheaper piercing course and as body modification was generally interesting to me, I decided to become a piercing master.
I joined the community, met many interesting and talented people who, at that time, were at the top of the tattoo culture. I didn’t study tattooing professionally and lost interest as I went deep into piercing for a while. It wasn’t until 2014 that I become excited about tattooing again. This time I bought my own machine and started teaching myself. I tattooed myself at first, I still have these on my legs and they still seem pretty ok!
After the third tattoo on myself I felt confident that I could tattoo my friends. I worked from home and bought all the necessary equipment. I have always taken the responsibility of tattooing very seriously. So I made myself a mini studio in my apartment with everything needed for sterilisation and so on, as I was very worried that I could harm someone’s health.
But I didn’t work at home for long as I applied to a new studio specialising in graphic black and white works – Blackyard Tattoo. The guys took me on and I was incredibly happy that I would be working in a real tattoo shop. I worked there for two years and developed as tattoo artist before opening my private shop. I then travelled in Europe and the USA and since the end of 2019 I have been working with the INKME team.
How would you describe your style? My style is black graphics and my monsters are my calling card. At first I didn’t know exactly what I would tattoo, my first sketches were in dotwork and linework. But then my eye was caught by the dark and mystical works of Russian tattooers. Now I understand that this kind of black tattooing was just gaining momentum at that time and I was lucky to catch this wave.
I then tried to make a few of my monsters, the designs were simpler as I drew on paper while trying to understand how I’d do it on skin. At that moment a vision of what my tattoos should be formed and over time I honed my technique. I can’t name a specific style for my tattoos; I work with black ink and make creepy monsters. I’m drawn to mythical and fantastic stuff. I often use the same elements in my sketches: poses, hands, claws and paws, thereby trying to preserve my author’s vision.
Can you tell us about the process behind your tattoos? More often designing a new tattoo is quite a lot of work. The time has long passed when people just went into the studio and chose a design from ready-made flash sets. Now individuality is valued, so an original design is developed for each customer. I never repeat my own or other people’s work. Thanks to design programmes and gadgets I can develop the design and make edits if needed. However, I sometimes miss the “live” element of drawing on paper and often, with pleasure, take a pencil in my hand.
There are clients who come just for my style and give me complete freedom when creating a design or choose a ready-made design, I really appreciate it. I find this a comfortable way to work and I create a design based on my own imagination as I have no frames and restrictions.
But there are those who come with their idea based on existing characters, with this I try to implement everything in my own style as much as possible. As a rule people don’t mind this because they came for my style, I thank them for this!
What inspires you? find inspiration in nature, horror movies, stories about witches, mythical creatures, and music like black metal, doom metal and stuff like that.
What drew you to work only in black ink? I just have no passion for colour drawings and working with a large palette of colours. This also applies to my own tattoos; my first tattoo is a sleeve based on my own sketch. At first I was delighted with the result but the sleeve features colour. After a while I become uncomfortable with the colour on my hand as my preferences changed and now it’s covered with blackwork.
What do you like to tattoo and what would you like to do more of? I would like to do more large-scale projects, such as on the back or torso. Spaces where a customer doesn’t have some kind of framework on the body that he is trying to fit a specific design into.
I’d like to create more experimental tattoos with transitions from one part of the body to another, such as from the back to a leg. I’ll be incredibly pleased to work on such ambitions projects.
At the moment, my portfolio is diluted with existing characters from movies, books and games which are usually commissioned by my customers. Although it may upset my clients I’d like to do less of this kind of work and pay more attention to the universe of my monsters.
Can you tell us about your own tattoos? Are you a tattoo collector? As I mentioned, I did a few tattoos myself while I was studying. Most of my tattoos are from my friends and tattoo artists I have worked with. Naturally they are also all dark and black and white. I don’t chase tattooers with big names, if I like a sketch and the quality of the master’s work I will gladly get a tattoo from him. But I also don’t do thoughtless and impulsive tattoos, they must be in harmony with my tattoos and coincide with my inner states.
I have ideas on how I want to close the remaining areas on my body, but all the tattoo artists I want to go to are in different countries. So I don’t know when I can make an appointment with them.
Where can people get tattooed by you? I always announce my plans on my Instagram @t_i_t_u_k_h. You can also email me at titukhtattoo@gmail.com with any questions. Actually I love it when people write to me saying that they would like to get a tattoo from me, even if at that moment I am on the other side of the world.
These requests are important because they help me plan my guest spots. I collect these in a database and if I get a sufficient number of applicants in a certain region, I will visit there with pleasure.
How does guesting compare to tattooing in one studio? When working in a particular studio the work process is well-established and you don’t need to worry that there will be no necessary equipment. There’s an already formed team, it’s like a second home.
When working as a guest artist, especially if you are going to the tattoo shop for the first time you need to foresee everything in advance. I’ve been lucky with the studios I’ve stayed in as the people were open and willing to help.
The best part for me is new acquaintances; I can happily say that the guys from all the studios that I have visited have become my friends. Although the pace during these trips is fast and you get very tired, so there must be a balance and time to rest.
What’s the tattoo scene like where you are? St. Petersburg is the cultural capital of Russia. There are a lot of creative and versatile people here. So when it comes to tattoos everything is fine, the older generation is already used to it. There’s practically no condemnation and there are many good studios and artists. I can happily say that tattooing in Russia is at a high level and I often hear people mention different tattooists with different styles abroad. Because of the great competition, tattoo artists must constantly improve and upgrade their technique.
What moment in your career are you most proud of? For me, the most important achievement is that I found my dream job and I’m now I am doing what I love.
Make sure to follow Sergei for more awesome horror-inspired tattoos and find out where he’s tattooing next.
Tattoo artist Sarah Terry is currently on-the-road in the UK, here she tells us about her journey to becoming a nomad tattooer and the tattoos she creates along the way…
What inspired you to become a tattoo artist? I’ve always wanted to be a tattoo artist ever since I was little. I used to look at heavily tattooed people and want to be like them. I always loved art, and it seemed like the perfect career! I remember designing my first tattoo during my year 7 English exam (and getting it tattooed on my 18th birthday!)
How did you become an artist? Despite always wanting to be a tattooer, my art career was actually more textiles focused from school onwards. I studied embroidery at university, started running workshops in schools and eventually earned my teaching certificate. This led me to working in a youth offender institute teaching young prisoners.
It was during this time that Instagram launched and suddenly my eyes were opened to the possibilities of tattooing. I got excited about it again and started talking to prison officers about how I’d always wanted to tattoo. They were really encouraging so I started looking for an apprenticeship. I was teaching during the day, drawing and painting at night. It took me about one and a half years to finally find an apprenticeship and I haven’t looked back since. I sometimes have to pinch myself – I’m literally doing my dream job!
How would you describe your style? I’d say colourful neotraditional florals (but I’m also willing and able to do dotwork too).
Can you tell us about the process behind your tattoos? I usually draw a week before my appointments. I used to do it as and when, but found it helped my anxiety to have a day dedicated to it instead. I’m lucky now that a lot of requests are for my style – I have a huge photo gallery of flowers and my latest obsession, mushrooms – that I use as reference. That way I can ensure that my customers are getting truly original content, not just something from the first few pages of Google. I use an Ipad to draw, I usually draft my drawings several times before rendering the final design.
What inspires you? What inspires your flash designs? Readers will probably not be surprised to learn that nature is my biggest inspiration. I’ve always loved drawing organic things- there’s just so many beautiful and incredible things out there. I’m particularly inspired by juxtapositions – light/dark, natural/man made, etc. I am also inspired by textile design, print, folk art and fashion.
What do you like to tattoo and what would you like to do more of? I love tattooing flowers and mushrooms, and honestly I just want to do more of that! I’d specifically like to explore more larger, freehand projects that work organically with the body. I’m prepared to do some great deals for any customers who’d like to collaborate with me on anything like this. Please do get in touch!
Can you tell us about your own tattoos? Are you a tattoo collector? I am HUGE tattoo geek! I am incredibly proud of my own collection which includes pieces by Claudia de Sabe, Sneaky Mitch, Wendy Pham, Stu Pagdin, Maverick Reeve, Danielle Rose and Gem Carter (who just finished my incredible back piece). I’m almost covered now but I’ve got plans to see Joe Frost soon to fill my last big space. I have a huge amount of bird tattoos, closely followed by tigers and cats. And of course, flowers! I don’t have any barbed wire or mushrooms yet, think I’ll need to remedy that!
What inspired you to be an on-the-road artist? During 2020 I got divorced and sold my house. The first thing I wanted to do was explore my new found freedom. I literally had the chance to start again – but I didn’t know where. This journey is about seeing places in the UK I’ve never seen before, in the hopes that I’ll find my next spot to settle. Part of it is about meeting new people and creating new friendships with other artists and customers all over this country, and part of it is about enjoying my life for myself after living for a long time for someone else.
How does guesting compare to tattooing in one studio? Well I basically tattoo out of a plastic bag these days! (if it’s good enough for Claudia it’s good enough for me!) It can be a bit stressful packing up and moving on so much, but it’s worth it as I get to see so many new places and meet new people. Life is for living and I’m all about the experiences!
Where can people get tattooed by you? I have regular monthly guest spots at Tooth and Talon in Manchester and The Gold Room in Leeds. I’ve got guest spots elsewhere in the UK being confirmed as we speak. I’m planning to visit Brighton, Birmingham, London, Wales, Norwich, Edinburgh, Glasgow and Dundee as well as a few others. I’ll be updating these on my social media and my website so if anyone wants to get tattooed by me, please check those out!
How have you been affected by the pandemic? I definitely feel like I’ve seen an affect. Having such a huge global event happen in our lifetime is bound to have an impact on everything! I think the pandemic, paired with my nomadic lifestyle, has made it harder to get bookings. Like anything – it’s all about balance. I understand I’ve traded the opportunity to build a client base by moving around, but I hope in the end it will be worth it when I find my place and can settle there with all the amazing memories I’ve made. And hopefully I will have built a beautiful network of gorgeous clients all over the UK!
Make sure to follow Sarah on Instagram for more tattoos and travel updates. Check out her available flash designs here.
When we first spoke to Anna “Mimi-Sama” back in 2018 she was a travelling tattooer beginning to specialise in manga tattoos. Since then she’s settled at Black Serum Tattoo in San Francisco and has become even more sought after for her blackwork and manga style. We caught up with Anna to chat all things tattooing the pandemic and what’s changed in the past four years…
When we last spoke to you you were a travelling artist has this changed? Indeed, it has changed as I settled in San Francisco in July last year. Before that I was in Montreal for just over a year. Of course, the pandemic had a big influence on me as travelling has been very complicated. So I took this opportunity to settle and find new exciting work opportunities. Later in 2022 I will travel again within the US as I’ll be at lots of conventions and guest spots.
What was it about the city that made you want to settle there? I chose San Francisco for several reasons. Firstly I met Brucius Xylander, the owner of Black Serum Tattoo a few years ago. I really liked his way of thinking and I loved the shop he had built. The second reason is the city itself. It’s a vibrant and cultural city, where a lot of our modern era changes come from. The weather is great, the people are nice and the city and surroundings are beautiful.
What’s the studio like? The studio is bigger than when I visited it a few years ago, but it has kept the art at the heart of everything. Brucius keeps his place entertaining and inspiring for the people who visit it with an array of art and craft objects. But what I really like the most is the opportunity I have to meet great artists from everywhere. Every month, we have artists from Asia, Europe and other places in the US visiting us, it’s a wonderful place of artistic exchanges.
While you were still a travelling artist was there a place that stood out to you? I worked for almost a year in Tokyo in 2019 in the Ichi Tattoo studio. Living and working there has definitely had a big influence on me. I was thrilled that I got to live amongst Japanese pop culture and it gave me more confidence about my own style and art. It was a special time in my life and for my family who were there with me.
Tattooers and tattoos aren’t very welcome in Japanese society, so I was very lucky to have the chance to tattoo there in one of the best shops in the city. It was definitely helped me to develop my technique and art.
How has the pandemic affected you? How have you found the lockdowns, did that have an affect on your creativity? Yes, of course, it’s had an impact on my work. First of all, I had a lot of tattoo conventions planned. When they were cancelled it was a huge financial loss as the reimbursement has been very difficult. We have to be empathetic though as everyone has suffered, but yeah it has been quite difficult at times. In addition, the studio I was working at had to close for several months. But, I don’t want to complain as it was the same for everyone!
When it comes to my creativity, I think it was positive in the end. I am a workaholic and I don’t take as much time as I would like to for other things beside tattooing. So the lockdowns were a good opportunity to spend more time with my family, do more research about Japanese art (my biggest inspiration) and of course read mangas and watch anime!
Since we last chatted has your style changed? Would you say you’ve grown as an artist? Yes I do! Having a change of environment and perhaps moving a little bit less made me focus more on my technique. I can say that I have reached a higher level in terms of blackwork techniques, such as whipping and dotting. I have really progressed in the use of different textures and the management of light contrast.
Also I changed some of the tools I work with (my machine and needles) and I am now able to work with thinner needles with a great effect, even after healing (like in this Totoro tattoo).
You’re known for your manga tattoos, is there any character or film you haven’t tattooed yet and would like to? I would like to do some Gunnm tattoo projects. It is the manga that I started with as a teenager and I haven’t had the opportunity to tattoo it yet. But I am quite happy about the diversity of projects that I have, even if I would love to tattoo more of Dorohedoro manga, as it is a good match with my style!
Do you see yourself moving away from this style? Does it still excite you? It still excites me for sure. I am trying to put more of my own style into my creations. That’s why I came up with my concept of Mangala which is mix of manga and mandala. I really like the graphic blackwork and I really want to pursue this style alongside my love of manga. I really believe it’s a great combination and makes for unique tattoo pieces.
Can you tell us about your own tattoos: when did you get your first one, do you still love it and do you have a favourite tattoo? Similar to lots of other tattooers, my first one is far from being my best. But I still love it as it is a part of my personal journey. My favourite one is a rabbit made by one of my great friends Mademoiselle Hirondelle.
This tattoo tells a very personal story and she took the time to listen and draw something that incorporates that. The whole process has been very cathartic for me and it’s definitely an important moment in my life and on my skin.
With that tattoo in mind do you think all tattoos have to have meaning? Not at all! Just get a tattoo because it is fun! When you try to put too much emotion and meaning behind a tattoo, it can easily fade away before the tattoo itself! Of course, it’s not always the case, but I see it happen from time to time. In life and in my work I like to keep positive and fun, so I always advise people to have a positive feeling when it comes to their tattoo project.
We spoke before about motherhood and tattooing, what does your little one think of your job and tattoos? She is 4 years old now, but I don’t think she sees my work differently from other people’s work. For her, the main thing is mommy leaves in the morning and comes back in the evening.
She may be more interested in the temporary tattoos you find in candies than other kids but that’s it! She had a phase where she liked to draw on herself but it passed.
Make sure to follow Mimi-Sama on Instagram for more manga and blackwork tattoos.
