“Tattooing someone is a real bonding experience and I love to discover what makes them tick,” tattoo artist Nick Lazaris

Tattoo artist Nick Lazaris, aka Laz (@Laz_tattoo), creates black-and-white realism tattoos at Animalistic Body Art in Adelaide, Australia. He started working life as a security guard, but art was in his heart from a very young age – so he did an old-school apprenticeship to learn the trade and now he’s known for tattooing football players and Olympic swimmers, we sat down with the artist to find out more about his art and passions…

What made you fall in love with tattooing? Was there a poignant memory from your past? Tell us about it…

I was getting tattooed at 15, which was very young – too young, really. Around that time I was collecting magazines and every time I saw a photo of a tattoo on someone I’d always stare and want to know what it meant to the person.

When did you decide you wanted to become a tattoo artist? How did you learn?

I think it was around the time I left school. I was a security guard and I was looking for a career. I’d always shown talent with my drawing, and I started getting tattooed when I was young. So, it was pretty clear to me that’s what I wanted to pursue. 

I started getting tattooed at a place on the road where I lived in Newtown, Sydney, and got to know the guys there. The boss had a few shops and someone was leaving his shop in Sydney suburb Kings Cross so I took my portfolio in to show him and he took me on. 

I did an old-school apprenticeship; getting stencils ready for the artists, cleaning and watching and I slowly got into it as I went along. 

We love that first and foremost you call yourself an artist. Can you tell us a bit more about that side of your work?

I was always drawing when I was young and never touched any other mediums. When I was an apprentice I had a friend whose parents had an art store that had closed down and she had a big box of oil paint that she gave to me. 

They sat around for a while ’cause I was a little scared to use them and one day when I was down on life I got them out and had a go. I think I painted Vincent Price from Dr Phibes and it opened up a whole new world to me.

Laz’s portrait of his mate Kyle for a portrait painting competition.

What I loved the most is it helped my tattooing and as I got more into tattooing that then helped my painting. I’ve designed album covers for some of my favourite bands, t-shirt designs and football jerseys.

It’s as much a part of me as tattooing is. I also teach drawing and painting now at an art store here in Adelaide that has a workshop, which is really fun.  

You’ve been tattooing for 20 years now, how much has the industry changed in that time? What was it like back then compared to now?

It really has changed a lot, walking into a tattoo expo used to be so loud and now it’s all quiet from all the rotary machines. When I started it was still a bit of a tough guys’ game, you’d have an element of fear walking into a tattoo shop in the mid 2000s and because of that a lot of really good artists were deterred from tattooing.

Now, those quiet people who are great at art who would never have dreamt of being a tattooist are doing it – and it’s upped the quality 1000 times, which is a good thing. Don’t get me wrong, I loved it back then too, there was an exclusivity to the industry that made the community a lot tighter, so it wasn’t all bad. But it’s great to see how far the quality has come. 

Laz and Port Power Star from the AFLW, Gemma Houghton

Why do you think you’ve become the go-to tattoo artist for football and basketball stars in Australia?

I’m a sport lover myself, so I’ve been involved in some art projects for our sport teams here in South Australia. I’ve done murals up at the clubs, among other stuff, so I’ve got my foot in to meet a lot of athletes over the years.

I tattooed a few people, then they told their mates and it snowballs. It’s become a right of passage for teams like the Adelaide 36ers and Port Adelaide football club to come see me when they get drafted or traded here. I’ve had people come in on their the first day in Adelaide at their new club hearing I was the guy to come to for tattoos, which is cool.

I’ve made a lot of great friends through the clubs, we have a lot in common – we’re meticulous about our preparation and we always want to be better.  

It’s also a good way to get to know these guys, it’s a real bonding experience tattooing someone and I love to see what makes them tick. It’s very inspiring to be around people at the top of their craft.

We hear you’ve tattooed Olympic swimmers like Kyle Chalmers? What was that like?

Yeah, I tattooed Kyle and that opened so many doors for me, he’s a great friend. I tattooed him a couple times and we hit it off, we’re very similar in a lot of ways, and we became like brothers over the years. We even had a YouTube show (Mates & Plates) where we interviewed athletes at his house and made a meal for them. 

Who’s the most interesting person you’ve tattooed?

I tattooed Fred Durst from Limp Bizkit some years ago and we had a really good chat about an incident that happened at a music festival where a young girl lost her life. Fred opened up and showed a lot of emotion during the tattoo and I saw a side that only people that know him would see. It was a fun day hearing some of his touring stories from over the years. 

What album covers have you created for bands?

I’ve been very lucky to do album covers for some of my all-time favourite bands. Most recently, I did Carnival of Killers by Macabre – if you haven’t heard them you should check them out they do true crime songs and call it ‘murder metal’, a very unique band.

I did The Murder Junkies album Road Killer, which was quite controversial and received a lot of angry press – perfect for an offensive punk band!

My good friend Nick Oliveri who played in Queens of the Stone Age and the Dwarves has a band called Mondo Generator and I did the cover For Hell Comes to Your Heart.

Does this mean you get to go to lots of fun gigs?

Absolutely, I love my music as much as I love my sport so I’ve been lucky to tattoo a lot of musicians when they tour. Also projects like this get me in touch with bands directly so I get lots of tickets thrown my way, which never goes unappreciated.

How do you like to work with your customers? Do you mostly do custom work or flash too?

I do all kinds of tattoo work, but I mainly specialise in realism. So, people will come to me with an idea and give me a few references and they’re usually fine with me doing my own thing with it. That’s the good thing with online portfolios and social media these days, our clients put trust in us when they’ve seen what we’ve done before.

Does your style of art and the style of your tattoos complement and inform each other – if so, how?

It’s funny but I do mostly black and grey with tattooing, but mostly colour in painting. I don’t know why that’s turned out like that but it has.

However they’ve really helped each other over the years. I use a lot of the structure from my painting from my tattoo preparation and I’ve used a lot of colour theory to help my tattooing.

So they definitely complement each other. I find I’ll be doing something while I’m painting that I’ve adopted from years of tattooing, like working in a certain direction and not even realising it’s happening at the time.

What do you do when you’re not tattooing?

These days I have a bit more of a low-key life, if I’m not tattooing I’m teaching art or painting and hanging with my pets (my dog Curtis and my cat Polly) as much as I can.

Going to sport games, live music, hanging with friends and seeing my family as much as I can, too.

What are your hopes for the future? Both for your personal work and more general in tattooing?

I’m looking to tap into the horrorcons and comicons to share my art. It’s a bit of a dream of mine to go over to the US to tattoo and showcase my art at conventions and do as much of that kind of stuff as possible. I love to paint horror movie characters and things like that and no one does those kind of expos like they do over there.

Same with the tattoo conventions – we don’t have a big market for it over here and I’d love to be able to get my name out more.

We’ve loved chatting… See who @Laz_Tattoo is tattooing next and find out more about his painting commissions by following @PaintingsByLaz.

We’re always talking to amazing tattoo artists, check out our latest interviews.

“I wanted to take my feelings and put them outside of myself” – we chat to tattoo artist Ashes Bardole about her poetry collection

Utah-based tattoo artist Ashes Bardole transforms both skin and soul – and her debut poetry collection, Just a Romantic Collection of Words is out on 28 March. For years, Ashes’ tattoo chair has been more than a place for ink. It has been a space for people to process, heal and be seen. This book is an extension of that. Raw, intimate, unfiltered, it’s for anyone whos ever needed an outlet for their pain or a reminder that they aren’t alone. We chatted to the tattooist and poet ahead of the book’s release…

What made you want to publish your poetry collection?

Initially, I wrote all of this poetry just for me, never expecting it to become what it is today. At its purest form, this was creation for the sake of expression.

I wanted to take my feelings and put them outside of myself, so I could look at them and see them more clearly. To give them a life of their own so I could let go of them. It’s also an homage to all the people in my life who I love, have loved, will love. The change they and I have inspired in my life.

I am publishing this book in honour of my grandmother. She was an artist of many mediums, but a poet first and foremost. For the last two years of her life, she was quite literally on her deathbed, unable to write, her mobility and dexterity deteriorating. While that was happening, I was travelling and the fear of losing her was constant. However it also showed me the love and weight of her presence in my life. She is the reason I started oil painting, the reason so many beautiful parts of myself exist. Without her, I would not be where I am today.

The act of sharing my words came from a place of great love and heaviness, of experiencing the loss of my grandma. Before she passed, I told her I was writing a poetry book for her. She never got to read it, but her eyes lit up with joy when I told her.

What do you love about poetry?

It gets things out of my head and into a different space to see them. A moment of clear self reflection. I spent a lot of my life suppressing and avoiding my emotions because many of them were too big. Poetry gives them a space to be held and processed. I no longer suppress or turn away from my feelings. Poetry releases the stories we assign to the feelings, breaking it down into an abstract/vague thought leaving the raw emotion to be processed. 

There are many times I turn to reading the poetry of others to help me understand my own feelings. Emotions are hard to describe and pinpoint. Often they’re complex and layered. You may be feeling sadness but also relief, or happiness. None of those feelings are wrong. Poetry gives you a language to feel and express the complexity and intricacies of the emotional experience without judgement.

In addition, reading poetry gives a sense of not being alone. Someone else somewhere has felt this similar thing, even if the details of the experience are different. The abstraction of poetry allows the connection of two strangers through shared emotional complexities that transcend specifics of language.

Poetry doesn’t have to be pretty or rhyme or follow specific rules – it is pure expression. 

Why do you think people often spill their innermost thoughts while they are getting tattooed?

Part of this puzzle is being open to holding that space for others, as the artist, that really allows people to open up. Not to mention you spend hours with each other. They come in as strangers who have to inherently trust you because you are not only about to cause them pain — which is incredibly vulnerable — but also mark and alter their appearance forever. There are not many situations in which these conditions exist. 

As an artist you also immediately skip the small talk. Additionally, I feel such curiosity and compassion for people, and this is the perfect environment to truly see another person without the filters they usually project. Once you are in physical pain, the facade you put up via social media or in public is immediately gone. Clients must let go of the extra mental work to be able to process the physical pain as it is happening. There’s no room to hide.

Tattooing can be a space of no judgement. The job of the artist is to witness that space your client is in and guide the experience. There have been times where I have asked just the perfect question that has allowed the space for a client to open up about some of the most difficult experiences in their life.

Pain is such a key player in this. Being in pain of your own choosing can give a sense of control. There is research that suggests the brain processes physical and emotional pain through similar neural pathways. This creates an opening and trigger point of connection within the brain allowing someone to share the things that have happened to them.

Also being in pain while being able to talk about pain is so cathartic. When I was getting my palms tattooed, it hurt so badly that I started to cry not just about the pain I was actively experiencing, but about every painful thing that had ever happened to me. It was a pain that transcended a physical space to allow for an emotional space to come forward. Whether a client chooses to talk about it or not, this process happens for everyone to an extent. 

Why are tattoos so powerful in helping people heal?

The brain is an incredible thing and it also has specific needs to be met in order to process trauma. 1.)  to be physically present in your body and in the moment and 2.) to have mental and emotional safety.

Many of us dissociate from our lives and from our physical form. I, for many years, ran away from my body and the pain I was feeling because of emotional trauma and chronic illness. When you leave your body like this, it makes it hard to be able to process the things that have happened to you. Your brain does not know the difference between a thought and perceivable reality. Thus, many people who experience PTSD are not grounded in current reality to realise that a flashback is just that, a past moment. They then experience that memory as if it is happening in real time causing reoccurring trauma. Which is why it is so necessary to be aware and grounded.

Many people turn to yoga, exercise, meditation to ground themselves in reality. However, tattooing bypasses that effort and forces you into your body. You cannot escape the feeling of getting tattooed. There is no other sensation in time or space that feels like getting a tattoo, so you could not possibly think you are anywhere else. It is the anchor point to the here and now, and that anchor is being experienced through your physical body. 

The second part of this is mental and emotional safety. As a tattoo artist you have the opportunity to create that space. You have complete control in how you engage with your clients — how you speak, how you act, how you set up and guide the experience. Something as simple as checking in with a client during a procedure. Getting them water, and food. Making sure their basic needs are met so that they sit their best for the tattoo so you can do your best work. Those things are enough to fulfil that second requirement. 

Personally, I cannot and do not want to separate this spiritual, transcendent space from tattooing. They belong together. Which is  why I believe it’s important as a tattoo artist to go to therapy and resolve your own traumas so you can be a mirror and a listener without projecting your own traumas on to the client. You are giving them the space to express whatever they need to in that moment. 

Do you think the art of tattooing and writing complement one another?

I feel that as an artist you cannot separate any art from another. All art forms complement each other. They are all an extension of ourselves, just different expressions of that extension.

The vulnerability my clients share with me within a tattoo space is being reciprocated through the form of poetry. Where I get to share my vulnerability with clients in a safe space. Themes that are outlined within the poetry book are shared within the tattoo space as well, there is so much crossover between the two. 

My artwork in any medium draws inspiration from each other and also from my experiences in life. Those experiences help me create and also connect to other people. All of it is growth, all of it is expression, and the different vacillations of these invite different people to interact with me and with others in different ways.

Just a Romantic Collection of Words will be released on 28th March 2025, through shop.ashesbardole.com

“Most of my pieces are custom designed through dialogue with my clients,” interview with tattoo artist Yujhi

Yujhi (@nowthisyujhi) tattoos in Seoul and Daejeon in Korea and runs their own shop (@thatsallgood.std). We sat down for a chat with them to find out more about their horror style…

What first drew you to tattoos?

When I was in high school, my best friend got an Irezumi (tattoo) on her arm. I saw it by chance and I remember feeling both scared and excited. At the time, I was preparing to go to art school. Inspired by my friend, I thought it would be fun to have my own artwork on my body. So, that’s when I thought I should become a tattooist.

Do you have a memorable moment from your past when you fell in love with tattoos?

About two years ago, I was invited to visit Seoul Ink in South Korea as a guest artist. At that time, an artist named JinQ (@jin_qchoi) was tattooing there and I was very shocked when I saw his work. The colours were the most vivid I’ve ever seen and the work was very fast and so alive. To this day I remember how cool the design was. He is one of my favourite artists.

Your incredible blackwork tattoos have a futuristic horror quality to them, really mesmerising, how did you hone that style?

Thank you. This was my favourite genre to design even before I started tattooing. I’m refining my style little by little to make it a good piece of art for when I transform it into a tattoo.

What inspires your tattoos?

Since I was a kid, I have loved Japanese anime from the 80s and 90s. I love the artwork and that era inspires me a lot. Recently, I read Berserk, and I’m enjoying it very much. I find this manga very helpful to me and it inspires me to work harder on my own art.

How do you like to work with customers on pieces?

Most of my pieces are custom designed through dialogue with my clients. Other methods, like flash, are also welcome.

Where do you currently tattoo and what’s the tattoo scene like there?

Currently, I am tattooing in Seoul and Daejeon in Korea, and my main location is a small city called Daejeon. I run my own shop (@thatsallgood.std) and it’s small, but I’m with friends who have been tattooists for a long time.

How do we book in with you? Will you be doing any guest spots this coming year?

Booking in with me is very simple, you can book through DM on my Instagram, and you can see the instructions on my feed and profile. I am working on making it easier and more convenient for customers to book in the future.

Do you have any thoughts on the tattoo world itself? Its current state, what has come before and any hopes for the future of tattooing?

This is a question that seems to divide opinion among artists. My personal opinion is that compared to the past, more artists are now tattooing with their own colours and designs and the level of quality is so high that I think this is a very good thing for the market.

Clients can choose from a wider spectrum of tattoos and it’s a level playing field for each individual, which I think creates a better synergy.

What’s next for you?

There are so many things I would like to try, but I would really like to make figurines or statues. I would like to try tattooing my designs in full colour. I am looking forward to seeing what kind of tattoo I can create.

Like the sound of Yujhi’s colour tattoos? Message the artist for colour tattoos and make sure to follow @nowthisyujhi for more awesome work, too.

We’re always talking to amazing tattoo artists, check out our latest interviews.

“I blend my clients’ stories with my own artistic vision to create unique designs that resonate with them,” tattoo artist Lass

Tattoo artist Lass, @lasstattoo, tattoos her ornamental style from Allskins studio in Hamburg, Germany, which looks like a high-end spa. She’s been tattooing for more than eight years and specialises in botanical and ornamental tattoos. Collectors often come to her with themes related to significant moments in their life and she adores diving deep into their inspirations to translate feelings into beautiful floral designs…

What made you fall in love with tattooing?

Tattooing has always felt like a calling, but I vividly remember the moment it truly captured my heart. Growing up in Kazakhstan, I was fascinated by the stories that tattoos told – each one a unique expression of identity and culture. I was drawn to a local artist’s studio where I saw people getting tattooed. The way they transformed their skin into a canvas, expressing their journeys and emotions, left a lasting impression on me. That moment ignited a spark – and I knew I wanted to be part of that world.

You create “tattoos that blossom with personality” in a floral and ornamental style. How did you develop this? Explain to us how this works when you tattoo someone.

My floral and ornamental style developed from my love for nature and its beauty. I believe that flowers symbolise growth and femininity, and I wanted to incorporate that into my work.

When I tattoo someone, I take the time to understand their personality and what they want to convey. I blend their stories with my artistic vision, creating unique designs that resonate with them. Each tattoo is a collaboration, and I strive to ensure that it feels like an extension of their personality.

Do you create mostly unique pieces for each customer? How do you like to work with collectors on tattoos? What sort of ideas do people usually come to you with?

Absolutely! I pride myself on creating unique pieces tailored to each client. When working with collectors, I love to brainstorm ideas together.

People often come to me with themes related to their life experiences, personal growth, or significant moments. I enjoy diving deep into their inspirations and translating those into beautiful floral designs that hold meaning and significance.

Do you have any favourite tattoos you’ve done? Tell us about them and why you love them.

One of my favourite tattoos is a large floral piece I did for a client who wanted to commemorate her grandmother. It incorporated her grandmother’s favourite flowers, each with its own meaning. Seeing the joy and connection it brought her made the experience incredibly rewarding.

I love tattoos that tell a story and evoke emotion, and this piece perfectly captured that essence.

Your studio Allskins looks absolutely beautiful – elegant and modern, a new breed of studio – what inspired the decor? Why is how the studio looks so important? Were you thinking about how your customers will feel while they are getting tattooed? It looks like a spa in the photos…

Thank you! The decor of Allskins was inspired by my desire to create a serene and inviting space. I wanted it to feel like a sanctuary where clients can relax and be themselves. The calming colours and modern design elements were chosen with the intention of making the tattooing experience enjoyable and comfortable.

I believe that the atmosphere plays a significant role in how clients feel, and I want them to leave not just with a tattoo, but with a memorable experience.

Do you think there are misconceptions and myths around tattooing? Is this something you think about and are trying to combat in your work and on social media?

Yes, definitely. There are many misconceptions about tattooing, such as the idea that it’s only for rebellious individuals or that it lacks artistry. I use my platform to showcase the beauty and craftsmanship behind tattooing.

Through sharing my work and the stories of my clients, I aim to break down these stereotypes and show that tattoos can be a beautiful form of self-expression for anyone.

What are your feelings about the industry as a whole?

I feel that the tattoo industry is evolving and becoming more inclusive and diverse. There’s a growing appreciation for artistry, and more artists are exploring unique styles. However, there are still challenges, such as the need for better representation and respect for the craft.

I believe we can continue to push for positive change and elevate the art form.

Do you ever work conventions and travel for guest spots? How do we book in?

Yes, I love attending conventions and collaborating with other artists! It’s a great way to connect with the community and share ideas. For bookings, I usually announce my guest spots appearances on my social media platforms, where clients can find information on how to reserve a spot. I also accept inquiries through my website www.lasstattoo.com for those interested in getting their projects done by me.

What are your hopes for your future in tattooing?

My hopes for the future include continuing to grow as an artist and expanding my reach. I want to further develop my style and collaborate with other talented artists,. I also run workshops, to help tattooists refine technique, gain confidence and support them in their journey as an artist. I hope to make them more accessible by doing them online, too, to inspire the next generation of tattoo artists.

Ultimately, I aspire to create a lasting impact in the industry while helping my clients feel empowered and beautiful through their tattoos. Watch a film about the workshops here.

Follow @lasstattoo for more beautiful ornamental, botanical tattoos.

We’re always talking to amazing tattoo artists, check out our latest interviews.

“Creating a backpiece is an extensive and deeply personal journey for both the client and myself,” interview with tattoo artist Francesco Ferrara

Known for his bold and expansive backpieces, we sat down to hear 29-year-old Francesco Ferrara’s story. Italian Francesco currently lives in California in the USA and is a resident artist at Gold Rush Tattoo (@Goldrushtattoo) in Costa Mesa.


I would like to take this opportunity to introduce myself to the readers of Things & Ink and express my gratitude for this wonderful opportunity.

My journey into the world of tattooing began at a very young age. Before embarking on my career as a tattoo artist, I was first a client. At the age of 15, I received my first tattoo — a Japanese sleeve on my left arm. At the time, I had little knowledge about tattoos, but I was instantly captivated by the art form.

By the age of 16, I attempted my first tattoo on a friend in my garage using a machine that another friend had purchased. In those early years, I did not view tattooing with the same perspective I have today. However, I am deeply grateful to my younger self for taking that first step, as tattooing ultimately gave my life purpose and direction.

I also remain deeply grateful to the individuals who supported me at the start of my career— those who entrusted me with their skin when I was just 16. Many of them are still close friends, while others have naturally drifted from my life over time.

When I first entered the tattoo industry, I was young and unfamiliar with both the craft and the inner workings of a tattoo studio. My apprenticeship lasted over a year, during which my primary focus was observing, absorbing and understanding the daily operations of a professional studio. Throughout this time, I refrained from tattooing, aside from a few experimental pieces on close friends, for which I never accepted payment.

I firmly believe that a strong apprenticeship is the foundation of a skilled tattoo artist. With over a decade of experience, I can quickly discern whether an artist has undergone a proper apprenticeship or is self-taught – the difference is substantial and unmistakable.

One of the most memorable moments of my career was my first guest spot in London at Black Garden Tattoo. At just 21 years old, I didn’t speak a word of English, but I was eager to tattoo as many people as possible. That experience profoundly reinforced my passion for tattooing and the incredible opportunities it has provided for my personal and professional growth.


Over the years, I’ve refined my style through exposure to diverse artistic influences and collaborations with some of the most esteemed tattoo artists in the industry. Working in various locations has allowed me to learn, adapt and integrate different techniques into my craft. I like to believe that I’ve taken inspiration from each artist I have encountered and made it my own.

My tattooing style is a fusion of traditional European and American influences. I have always specialised in traditional tattooing, though my approach has evolved significantly over the years. While in Europe, I favoured thinner lines and a more muted, autumnal colour palette.

Upon moving to the US, I was heavily influenced by the American traditional scene, adopting bold lines, vibrant colours and solid shading techniques.


Personally, I have exclusively Traditional and Japanese tattoos on my body. The majority of my clientele seek large-scale projects such as backpieces, front pieces, and sleeves. Each large-scale design is custom-created in collaboration with the client, incorporating their input to ensure a meaningful and personalised outcome.

Additionally, I frequently work with flash pieces from my collection, as many clients are drawn to my artistic style rather than a specific design. However, I am always happy to create bespoke pieces upon request.

Creating a backpiece is an extensive and deeply personal journey for both the client and myself. The process typically spans approximately five sessions, each dedicated to a different stage: outlining, shading, and colouring.

When clients approach me to begin their backpiece, I always seek their input on the design. Understanding their vision and aspirations allows me to incorporate their ideas while infusing my own artistic perspective, ultimately crafting a piece that surpasses their expectations.

Many of my clients gravitate toward bold, vibrant designs, drawn to my signature style that features strong black contrasts and striking colour palettes. However, I also enjoy working in black and grey, adapting to each client’s preferences. To ensure optimal healing, I generally recommend spacing sessions three to four weeks apart.

For clients travelling from overseas, I accommodate their schedules by arranging consecutive sessions, reducing both travel expenses and logistical challenges. Each session typically lasts four to five hours, with short breaks to ensure the client’s comfort. Preparation is crucial, so I advise clients to get adequate rest, stay hydrated, and maintain a nutritious diet before their appointments.

The tattoo industry has changed significantly since I first started, but I am encouraged by the number of dedicated artists and passionate enthusiasts who continue to uphold the integrity of the craft. Many of my clients are between the ages of 18 and 25, and their appreciation for traditional and Japanese tattooing gives me hope for the future of the industry.

The tattoo scene in the US is remarkable, with an incredible community of talented artists. I deeply appreciate my clients here, as well as those in Europe, and I value the healthy competition that pushes us all to excel in our craft.

Unfortunately, there is also a great deal of misinformation surrounding tattooing, and some individuals portray a misleading or inauthentic version of the art form. I firmly believe that true artists who genuinely respect and preserve the craft will leave a lasting legacy, while those who exploit it without passion or dedication will ultimately fade away.

I consider myself fortunate to have clients who trust me and grant me creative freedom in my work. Looking ahead, one of my aspirations is to complete a full body suit on a client with either no tattoos or minimal existing work.

To the readers of Things & Ink, thank you for taking the time to read this article. I would like to offer a piece of advice to aspiring tattoo artists: Love tattooing wholeheartedly, as it will always give back to you — both the good and the bad. Work hard, as there are no shortcuts in this industry. If you lack genuine passion, then tattooing may not be the right path, as the world does not need more tattoo artists — it needs dedicated and skilled ones.

Francesco’s books are currently closed, reopening at the end of March for appointments between May and July 2026. Message him via DM on Instagram. He’s currently working on several projects that are still under wraps. His first book, Bruh Book, is out now. Make sure to follow Francesco Ferrara (@francesco__ferrara _) for more incredibly bold tattoos.

We’re always talking to amazing tattoo artists, check out our latest interviews.