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I'm late in posting this. Also it's long. Grab a cold beer and read at your leisure. So was I the only one who attended the Shige Seminar at the SFO convention? If anyone else went I'd love to hear your thoughts. Especially if you went Sunday. I attended Saturday and what was supposed to run from 10:00-11:30, lasted till about 1:30. And only because Ed Hardy's lecture was supposed to take place in the same room at 1:00. I suspect it could have gone on for another hour. Shige was rushed at the end and had to skip over some explanations. Even then, it was both entertaining and educational. For about 3 hours he discussed the practice he goes through developing each of his back pieces. Starting with a day long consult with his clients to make sure they get the tattoo they want and to make sure he and they are all on the same page. He explained 1 day may seem extreme for a consult, but given the size, the fact they will be together for long periods for the tattoo, and the tattoo will be a part of the Client forever, giving them a day for a consult was most responsible. In one of the back pieces he showed us, he explained the Client originally wanted one design motif but he convinced him to go another route. In that particular case it was a friend with a family, and who owned a nail salon. The Client was originally interested in a hell scene but Shige asked him if he really wanted that type of scene given his new family and his life making people feel more attractive. The Client realized then that something else was more appropriate and together they arrived at a design incorporating a Buddhist diety. I thought this was cool because it showed his commitment to his Clients and their happiness. He also noted that each back piece is designed specifically for each individual's body. No design can truly be swapped out for another person because he designs in full scale, and for the bearer's shape. Rather than drawing a sketch and enlarging it, he'll draw life size designs. I thought this was an interesting approach and allowed him to fit as much detail as possible into a design. This explains a lot from what I've seen of his work where for example the arc of a sword scabbard perfectly follows the curve of someone's lats. In regards to subjects, whether they be Buddhist entities, mythological/natural creatures, or scenes from specific stories, Shige explained he takes great care in making sure he gets the subject just right in portraying them accurately and accentuating certain elements as needed. One thing he mentioned was that it was his job to educate the Client about stories. The Woodblock, Noh, Kabuki scenes are not something most Japanese Clients know about. Most people in Japan are just as uneducated as non-Japanese in regards to this. As such he takes great pain to research as much as he can. In the instance with deities, each hand carries a certain item. Which hand it is in and which item is very specific. This reminded me of Horitomo's lecture on Fudo Myo-o who said the same. If the items were lacking or in the wrong hand then the depiction of that deity would be off. It's all in the bearer if they truly care, some don't, but it's good to hear things about these deities most are not aware of to know they may be incorrect. He also noted that most motifs based on a story is based on a true story with a historical figure and context. It was very important to know this and he went through the process of showing some back pieces and describing their stories and where in particular they took place in Japan and when. And also compared the time spans between each. Now I've always been interested in mythology since I was a wee lad so bit by bit I've made an effort to learn about particular historical characters, many of whom figure into these stories to a certain degree so some of these stories were familiar to me, but I always relish the chance to hear more about them. Even so, Shige apologized many times to the group for making it feel like a history lesson, but also stressed how important it was to know it. Why so? One example he explained was when designing patterns on kimono or the colors used. One would not apply the print design of a geisha from say the 17th century to the print design on a princess's kimono from the 10th century. The pattern would be wrong for nobility and the time period would be off. subtle things. In the past the closest thing I've seen to this example was with regards to samurai style armor from the 1500-1600's being depicted in stories from about 1100. They were cool images, no big deal you think, right? Not really. I mean if you don't care about details like that it's all good, but in relatable terms it's like showing a Viking at the controls of a drone strike or a knight wearing chaps and a pair of six shooters at his side. It can be cool but it can also just as easily make someone scratch their head. All this, displayed the shear amount Shige goes through to give his all to a tattoo. What was also nice was that while informing the group about the historical backdrop of particular stories, he also touched upon their relationship to other stories and how they interconnected. He also alluded to particular stories he felt would make interesting subjects for future large pieces. Taki who was translating, joked that he wasn't sure if Shige was hinting that he wanted some one to make a request for those stories. If it was, or you want to give it a try, I can fill you in on which stories those were. Ha ha! Between all of this he also described how having no "master", outside of the constraints of certain story elements, he was allowed creative freedom to do what he wanted and not conform to rigid traditions. For example normally a back ends a certain distance on the ribs down the side but I believe it was his Taira No Tomomori back piece, that the subject wrapped around the Client's body to almost become a full body suit or in the case of another tradition mandated a Buddhist deity be depicted with 11 faces. In that particular case instead of tattooing all 11 he introduced some western notions having some hidden with the idea that as the faces wrapped around the deity you wouldnt be able to see some and he also allowed the Client's face to be the 11th. In addition that particular face was known to always wear a smile. So Shige told the wearer that he always has to smile now. I thought that was pretty clever and a nice inside joke between the two. I'll end this now, but like Shige's lecture it could go on much much longer. Suffice it to say it was a very enjoyable time and what I came away with was a profound appreciation for one man's deep thought process he gives to each of his Client's tattoos. Often times, something Clients take for granted of their Tattooers. Thank you Shige and Taki for the seminar. Also everyone who attended received a print of Fudo Myo-o and a digital copy of his book! Now I have all 3 versions. Hardcover, paperback, and digital! Sidenote, every time I mentioned "Client", I was very tempted to swap it out for "Canvas". But that would be too cruel.

latest from Eli Quinters

Tomorrow week I will be on a plane heading back to Yellow Blaze for more work on my front. Looking forward to being back in Japan, but dreading the tattooing given the location. At least all the lining is done...

I'm in the process of getting my front done by Horitomo. I'll post some pics in the future.

got this hot momma a few weeks ago from eli quinters

I got on Grime's list. My appointment's in 3 years. o__O I want a samurai skull hanya but I might change my mind when it's closer to the appointment date. haha. =P

http://web.stagram.com/p/583127157239957060_18727800 Emily Rose Murray just posted these. Amazing!

Starting my Backpiece on Friday with Stewart Robson! 3 hours, so hopefully get the outline done! Super excited but am now feeling slightly anxious....

Horimasa Tosui from the Horitoshi Family is my favourite. In my opinion his doing some of the best Tebori oneshots (and big work) in the business. It´s very easy to recognize that his master is Horitoshi 1; These are 12 years old. Look how bright they still are; I got this one from him earlier this year: I also love alot of other Tebori-artists, some of them are mentioned over here. Horizakura, Horitomo..

New one done today by Stevie Edge

I´ve already posted this one in this months contest, but here it is. Mike Rubendall 5-6 hous. Most painless tattoo session ever,

Of course they had to mention Kat Von D, even in passing!

There's a long story about the 'why' of us getting that particular design... To condense it- when we started dating a mutual friend told us that our being happy was 'just the honeymoon phase. don't worry, it will pass' and we were blown away by how snarky and shitty a comment it was. So we started joking about getting a tattoo that was ambiguously a nod to Honey Moon Phase as a bigolfuckyou joke. I've never gotten a tattoo with a partner before and when we were discussing it we decided not to add initials or date or anything to 'play it safe' but ultimately it was a really great experience.

Dear admins, if this is too basic a question for a thread, or if it has been covered elsewhere please delete it. Until very recently, I appreciated Japanese style tattoos, but was totally uninterested in getting them. It probably had lot to do with growing up in Tokyo and living here again now. Ever since a tattooer friend recommended (or implanted the idea of) getting a thigh done tebori "for the experience," I've been semi-obsessing about it. Who are your favorite tebori artists and why? It seems the styles, from the width of the windbars and palette, to drawing styles, are so varied. Do you like the artists doing classic work or the younger artists making "innovative" work? Some younger Japanese tattooers seem to be heading in a SSTP direction of simplification, where ultimately, classic tattooing, whether Japanese or American, becomes almost the same (except in subject matter). Some others' works seem too anime-influenced for my tastes. Even among older artists of a similar region, there's also a lot of variety. For example, Horitoshi I's work looks completely different from Horikyo's works and they are both Tokyo-based. Just curious about all your opinions. Horikyo Horitoshi 1

Enjoy! Japanese Tattoos: From Yakuza to Artisans, Aesthetes - Scene Asia - WSJ Don't miss the links on the gallery and also I think the book is being released this month!

my 5 year old nephew: "I wants a tattoo in the necks like Uncle Eric" I figured my life was a little vanilla so why not set a bad example for the children in the meantime. FOR THE CHILDREN! tattoo made in Edmonton, AB by Shawn O'Connor @ Ink Machine

Been a while since i posted anything on this forum but the whole moving thing was a bit stressful at times. Now i work in a bakery/cafe and make some good money + tips and free bread, we met a lot of awesome people here and the city is just great in general. Anyone ever in the Vienna area give me a call and ill let you crash on my couch ;)

Got this a couple weeks ago from Nikki Balls in D.C. Still a little shiny, and not a great pic, but you get the idea. Thanks for looking.

New here, but I'll throw in my new skool piece just for fun :) Some amazing ink on this one! Done by Ryan Eternal at Into The Woods Gallery in Dania Beach, Florida.

Some people look cool as fuck with bad tattoos - not talking about giant penis-koi , but you know what I mean

I think the tattoo has merit. It's much better than most, if that helps. But IMO I would suggest a cover-up and backpiece... Definitely a backpiece :)

One of the most truest statements i've ever read

Spider webs

I had pleasure to be tattooed two times on my leg by Bunshin Horitoshi, one in London Convention and another in her home-studio in Tokyo, is an amazing tattooer and very nice guy. Other young tattooers that I deeply admire are Horimomo and Bunshin Yozin (Yozin Irezumi facebook name), they make really strong and bold works.

I like the work of Nakamura Toshikazu also and it's a little different in style from the others above . Here's a link to his site and if you want to view his portfolio click the first grey box with Japanese writing in it , he's also on IG . Also I've previously posted pieces from him in the chest / torso thread . http://shisei2011.web.fc2.com/

I like Horimitsu of the Horitoshi Family a lot. His colors are also very vivid and bright. His designs take on an abstract approach at times to traditional Japanese tebori themes. I've follow his Instagram religiously. Missed out on an opportunity to get tattooed by him at this past NYC Tattoo Convention. Hopefully he'll come to the next one!

With all of this said, I did like it when Lady Gaga was in that music video with that GISM leather jacket. Of course if people started wearing bootlegged GISM shirts in any large number, Sakevi would stab them and/or light them on fire.

[/img] Finally figured out how to post correctly.. Apologizes !! Tattoo by Chris Garver , Invisible NYC

I love the tebori work of the Horitoshi Family from Horitoshi 1, Horimitsu, ShunHo, and Shinji Horizakura. The depth of the black wind bars are amazing the colors are so vivid and bold. However my favorite tebori tattooer is actually US based now, Horitomo. I feel he is doing his best works these days and hoping one day to be able to get something from him:

My first tattoo was a big thigh piece, and I just got my other thigh done this weekend. Experienced twitching both times. However, the first time was much more painful than this past one. The outline wasn't fun but the shading was a breeze. Here they are, the first one isn't in a style I'm super into anymore, and I'm not too crazy about it anymore, it's not bad it just doesn't fit with what I'm going for anymore. Maybe one day I'll have it covered or reworked or something. I don't regret getting it, because it helped get me into tattoos, and really it's not a bad tattoo, just not what I would get now. Here is my latest one, which I've already posted in 2 other threads in the past couple of days, but whatever, done by Phil Hatchet Yau:

Got this from Bailey on Saturday.

I guess this is probably a bad month to enter given how great the tattoos posted so far are. But I see that as a good thing, it just means more people are out getting great tattoos. Anyways, I've already posted this in he latest tattoo lowdown, but here it is: Phil Hatchet Yau at Tahiti Felix's Master Tattoo, 4 hours, one-shot:

Had fun re-purposing toilet paper rolls into cute monsters with my kindergartners...also dressed up like a "teacher stereotype" for halloween. That took some explaining to our students. We joked with the class that instead of having a party we were going to have them write a thousand sentences. When they started to protest, we taught them to sing "You gotta fight for your right to party". It was a fun day.

So today was my second session with Henning on my backpiece and it was a tough one. Started bright at early at 9:30am at Kings Avenue Long Island. This was probably the most painful and longest tattoo session I've ever had. We both under-estimated the time it would take for Henning to finish lining some additional feathers and to shade in the rest of the background. The first 5 hours were relatively low key. The last two hours were terrifying. I now know I will probably not entertain a torso piece anytime soon as the pain from the ribs was just brutal. This was the first time I considered tapping out but I was able to bare down and we managed to finish. Here are some pics. Color next year for the phoenix. Next session will be with Rubendall in December to put more color into the dragon. Big thanks to @Killercook76 who dropped by today for moral support and assisted in taking some pics. He showed off his Garver and Hendricks pieces which were AMAZING. Cheers bro! I love this guy but he "royally" kicked my ass today... Added some more feathers and filling in the top Background fully shaded Right side from Tuesday's session Left side from today

I have more bugs than I realized. Itsy bitsy spider by Ben Grillo: Moth by Capilli Tupou: (I gotta get healed pics of this thing, but it's behind my knee.) Spider lady by Richard Stell: And a Bob Roberts black widduh:

Hahahaha, I think I actually picked up the same frames as both of you last night. The four pack at BB&B. They were the first things the wife and I hung up in our new house! Edit: I have no idea why my images upload sideways.

That just reinforces the fact that there's a difference between what is good art and what is a good tattoo. I think a lot of people think tattooing=art in some respects it does, but design and execution wise it doesn't.

http://www.youtube.com/watch?v=UYC37e3pajM Has to be my favorite arrest video of all time.

The new one is out and features @Deb Yarian , so check that out!

Got this one today. It was the easiest tattoo I've had so far in regards to pain. I wouldn't be worried about the front of the thigh.

I am getting a small tattoo done by Horizakura at the moment. I love how the bars interweave between the foreground and the background. (Edit: I am not getting a tattoo with wind bars, yet.)

Stoked, confirmed deposit paid and all set to go for the 19th November with Kirk Jones. Seems like a super nice guy.

I will give this month a shot with my healed Fudo Myoo-girl done by Claudia De Sabe, at this years London tattoo convention! Yet another girl head in my collection and it's definately not the last! :eek:

I frequently have un- or barely-tattooed coworkers discussing my "ink" or "tats" with me. Those terms, or variations thereof, make my skin crawl. I think because it implies a familiarity - a "tight bros from way back when," if you will - that they very clearly don't have. Maybe I thought to much about it. That being said, I enjoy saying "zaps." I think I'm using it in a tongue-in-cheek manner, but I imagine that doesn't make it any less obnoxious.

I don't know if it's a matter of skill. I have a friend who got his first tattoo over the weekend at the convention. He's wanted a tattoo for a while and I invited him along to the convention because it's a great place to look at tattoos and get a sense of what's out there and he went to the convention's website, followed links and went through portfolios, got a sense of what he liked stylewise, contacted artists he liked with his idea, and he ended up with a really rad tattoo from Bobby Tripp and had a great time. Fundamentally, he wanted a great tattoo and he understood, without any prompting, that getting great tattoos takes time and research and work. And I think that's rad. I guess with that tattoo I posted what bothers me the most about it is that it really speaks to a lack of curiosity. Like if you love this tattooing thing so much, don't you want to learn as much as you can about it? Don't you want to get tattooed by people who are doing things that inspire you and make you want to be a better tattooer? Filip Leu is guesting at a shop a couple of blocks away from me right now and he's tattooing a bunch of tattooers who are already doing amazing tattoos but who are probably going to learn things from the experience that they're then going to bring to their tattooing so that they can do even better tattoos. That makes me excited. That's the kind of stuff that I love. But yeah, I basically agree with you that you can't really force people to get good tattoos. They have to want it.

Meaning is 100% a construct though... my knee tiger could represent "courage", or it could be about "my relationship with my mother", or whatever... it might be just that it's pretty frkn awesome to have a big ol' tiger on my knee... the meaning in it is what I want the meaning to be. I could get a tattoo of a hairy ballsack on my thigh and decide that it represents my love of music...

I love it when people get their own names on themselves. I have much a similar reaction to these as to when I see a civic rolling down the street with a giant "HONDA" on the windshield. There is a certain level of retarded narcissism involved.

@Stewart Robson, I was hoping you'd say, "Lie back and think of England." I always try to take deep, controlled breaths. For me, it helps to inhale deeply before the needle hits, then exhale slowly for the length of the needle attack. I only do that when things get really bad, though. Like for the entirety of my ribs.

my sylvia liner has never failed me. bought other machines, but always come back to it.