Interview with tattoo artist: Dino

Tattooist @dino_oriental creates striking blackwork tattoos with red constrasts at @10kf_Hollywood in Los Angeles, CA. We chatted to the artist about his recognisable style, journey into the industry and plans for the future…

How long have you been a tattoo artist, how did you get into the industry and why did you want to become one? I have been making tattoos for about eight years. I was a professional Korean soccer player before I became a tattoo artist.

Unfortunately, I had to have six surgeries on my left ankle which meant I couldn’t play soccer any more. I should have had a back up career ready but I found my second career a little later.

I have liked getting tattooed since I was young and my favourite soccer player, who played for Liverpool in the English Premier League, became a tattoo artist. Seeing this I became motivated to emulate his life and career, I then chose a job as a tattoo artist for my second life. So, I studied, watched YouTube videos, searched the internet, bought machines and supplies, and started my second life as a tattoo artist.

How would you describe your style of work? All of my designs are based on the traditional Japanese painting ‘Ukiyo-e’. Many of these traditional paintings resemble and feature legends and historical stories, which is why I get a lot of my inspiration from these traditional paintings.

I also like pictures that have a strong contrast. That’s why I usually use red colour ink to create a strong contrast between the black and red. I try to create a beautiful and strong atmosphere by using brush lines accompanied by many other lines. This helps to create a classic yet sophisticated feeling in my work.

Does your Korean heritage influence your art? I mainly do traditional Japanese style tattoos, but I get a lot of inspiration from Korean history and paintings. Japan and Korea have a similar history. Sometimes I get some of my ideas from traditional Korean paintings and study how the paint works.

When I lived in Korea I visited Korean temples; each temple has various traditional murals and I found inspiration in them. As I said above, most of my designs are based on the traditional Japanese painting Ukiyo-e, but I can also get a lot of inspiration and ideas from Korean heritage.

You typically tattoo in black and red ink, can you tell us more about this? I like art to have astrong contrast. A few years ago I went to the London Tattoo Convention to study the work of other artists. Looking at the body suit contest I spotted one model in particular who was tattooed in a style I liked the most and wanted to create. The tattoo had a very strong contrast, and it was very clear and intense even from a distance.

So, I tried to find a way that I could make this kind of contrast my tattooing style. I wanted to make it beautiful so choose red as I think it’s a beautiful and intense colour. I also like using the red to create a strong contrast, intensity and beauty when it harmonises with black.

What’s your favourite subject to tattoo and what would you like to do more of? I like to tattoo dragons the most. Although sometimes when I tattoo the dragon’s shadow the scales drive me crazy or I feel bored as I have to make hundreds of scales. But the sense of accomplishment and the look of the design is ultimately really cool and beautiful.

Also dragons are interesting to learn about, I like finding different styles of dragons. They’re mythical, legendary animals whose appearance is individual to the East or West or even each artist. I want to make my own style of dragon to feature on murals, bowls, clothes etc.

What’s the tattoo scene like in LA? I’m living a very satisfying life here, making tattoos for now. There are so many artists and special and unique people in LA. As such, there are a lot of tattoo shops, and there are great artists in various tattooing categories. Everyone likes to enjoy the tattooed life, it allows them to express their indivulaity and capture precious moments and things on their bodies.

There are people from different countries here which makes for fun tattoo projects. While talking to them, I learn their country’s culture and I can make tattoos that resemble their meanings for them. A project that starts with new people and people who like my work, always makes me excited and happy.

Do you have any guest spots or travelling planned? My plans start with the Philadelphia Convention in January. I then have plans to tour Asia in March, New York in May and Europe in July and September. I’ll be at conventions and doing guest spots.

I haven’t been able to travel as much as I would have liked, so I’m keen to get travelling again. It’s a good challenge in my career and allows me to create interesting prjects with lots of different people.

Can you tell us about your own tattoo collection? Are you a collector and do you have any future tattoo plans? I have tattoos almost all over my body, but I got most of my tattoos from my tattoo artist friends, my wife and I did some myself. 

My legs have a lot of cover-up tattoos because while I was learning to tattoo I tried various designs on myself. I also have a lot of blackwork on my upper body as I did blackwork style tattoos being I did traditional Japanese tattooing.

I have got a lot of my tattoos from my Korean friends and friends I have met while travelling. They’re all precious to me. In fact, I’ve forgotten the names of some of the tattooers who have tattooed me, but I still like to look at those tattoos and reminisce. I’ll continue to travel round the world and get tattoos from my good friends and artists.

What’s been your proudest moment in your career so far? My happiest and proudest moment was when I won first prize at the Taiwan Tattoo Convention. Amazing artists from all over the world attended and I was very happy that my efforts were rewarded when I won first place in the contest.

Some artists may not like these events, but for me, conventions motivate me and allow me to set goals to move towards. Looking at the works of countless great artists helps me see the differences between our works. I find my shortcomings, get ideas and things to try in my next tattoo. I feel like I can gradually find my own style.

What do you do when you’re not tattooing? When I don’t get tattoos, I enjoy doing things that inspire me or exercising. I play golf, go mountain climbing or exhibitions with my wife. I also like to talk with her and organise my thoughts. Because she’s also a tattoo artist, we understand each other, give advice, and have many conversations and hobbies together.

Also, due to the nature of my job, I have to sit down and work for a long time, so exercise is essential to me and it gives me a lot of energy. I am always organising my thoughts and making plans so that I can move forward with my goals.

Where do you see yourself in five years? I’ll probably have my own shop in LA and keep working on tattoos. I want to collaborate with the artists that I like and respect not just tattooing but other artistic outlets. My small goal is to not stop moving forward, not just in tattooing but in language studios and painting. I want to keep attending conventions and travelling the world. I’m sure in five years time I will be more developed and mature in all my abilities.

Follow @dino_oriental for more incredible tattoos and travel plans.

Interview with tattoo artist Girin

Tattooist Girin creates dark Japanese tattoos at at 3layer studio in Seoul, South Korea. We chatted to Girin about how he got into the industry and what inspires his work…

How long have you been tattooing and how did you get started in the industry? I’ve been tattooing in Korea for five years. Years ago my cousin opened a tattoo shop and it was there that I first experienced tattooing and tattoos. It was that day that I decided I wanted to become a tattoo artist.

Making my first tattoo was a special experience. My cousin trusted my drawing skills straight away and let me tattoo them.

What inspired you to become an artist? Comic books inspired me to become an artist. I’ve read a lot of comic books and ever since I was young it’s been my dream to become a cartoonist. When I was younger I started painting and I studied cartoons and animation at college.

How did your dark tattoos come about? I learnt how to tattoo on my own and when it came to learning colour tattoos I found them really hard. This style was too much for me to study by myself so I decided to work in black ink and create only black tattoos.

Can you tell us about the process behind your tattoos? I start by thinking about the overall idea then I draw a rough sketch. If I like the rough sketch I make a neater one. After that, I finish the design by drawing the light and shaded parts.

What inspires your designs? I study different designs by watching martial arts comic books and illustrations. In my tattoos I make sure that the details on the armour and helmet, that I’m tattooing, aren’t the same. I always keep trying to design new things.

I get a lot of inspiration from seeing monsters in the martial arts movies and games that I watch.

How would you describe your style? My work looks like Irezumi (Japanese tattoos) but I want to create my own unique style – Girin style.

How do you see your tattoos evolving in the future? I usually get to create big tattoos which I like. In the future I want to continue to engrave really nice tattoos on people’s skin so they can wear them like luxury clothes.

What was your first tattoo? My first tattoo was lettering by my cousin, I didn’t like it so I’ve since covered it. I kept finding problems with the designs and tattoos I chose, I just wasn’t satisfied – I keep thinking about getting better tattoos. Maybe one day I will.

Do you have any more travels or guestspots planned? I’m planning to go to Australia for a guest spot this winter.

What do you do when you’re not tattooing/drawing? I like to spend time watching games, animations, movies and dramas.

What moment in your career are you most proud of? Of course, I feel the most proud and excited when my customers are satisfied with a tattoo I’ve given them.

Follow Girin for more blackwork tattoos and travel updates.

Etienne Steffen: Bluttiefdruck

In this interview German born tattoo artist Etienne Steffen talks about his latest art project, performance and work: Bluttiefdruck

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Etienne tattooing at the exhibition

Can you tell us about your project and performance? During my project Bluttiefdruck I combined my method of dry point printing with tattooing. I tattooed eight of a series of nine dragons – each one a whole sleeve. After each sleeve was finished I replicated the image of the tattoo onto a life-sized zink plate using a tattoo machine. Afterwards the image on the plate was printed onto handmade paper.
The performance was a combination of the previous techniques and mediums. The fusion was the next logical step. The ninth and final dragon of the series was tattooed on a participant using solely water instead of ink. The outflowing blood caused by the perforation of the skin was caught on a white piece of linen. An impression of the ninth dragon appeared. I coined this technique Bluttiefdruck.

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The impression of the ninth dragon – Bluttiefdruck

How long did the performance take, how did the participant cope with the pain? The performance itself took about two hours. The participant took the pain very well. The pain was equivalent to getting a regular tattoo, due to the same process just replacing ink through water.

The Nine Dragon Scroll by Chinese artist Chen Rong from 1244 served as the main point of reference in this nine-part series. What was it about the dragon scroll and Japanese tattooing that fascinated you? It was always a reference when it came to dragons. I believe I have seen its influence in a lot of East Asian art whether ukiyo-e, sumi ink painting or horimono. So to me this project is also a homage to the nine dragon scroll. With regards to Japanese tattooing, I like the idea of a complete body suit concept with the back as the centre piece. Not to mention the fluidity in the background which carries the motives and connects them.

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The participant and her finished tattoo after the performance

How has the exhibition been received? Most people that come to an exhibition are there because of the event, and the exhibition itself serves as a vehicle. The project and performance was very niche, to be able to understand it fully you needed specific knowledge of Horimono (carving or engraving) and dry point printing, so not everyone understood what exactly was going on. But there were quite a few close observers that really took the time to understand what the project and the performance are about – these were astonished and appreciated what they saw. On the other hand, someone in the tattoo industry, who I respect very much, said that they ‘hate everything it (the film) stands for and it has nothing to do with the art of tattooing’ – apparently my project polarises people.

What inspired you? Japanese woodblock prints have served as reference for most of Japanese tattooing and Horimono, and there is already a connection between printing and tattooing. I’ve been obsessed with the idea of combining Japanese tattooing with dry point printing since I started “tattooing” metal plates. To me it just felt natural to connect the two. When I realised that horimono could also be translated as engraving it made even more sense. After a long process of distilling different ideas the project became clear during one of my many travels to Japan to get my backpiece.

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Four of the nine dragons in the series

What were you hoping to achieve, what message are you spreading? I want the people to see a certain subject through my eyes. To make the connections that I can see visible to others that might not see those parallels. To interpret traditional concepts and mediums (of art) in a new way. To put things into a new context. This project is about pushing boundaries. In today’s cultural landscape everything is about aesthetic -everything is superficial. In Bluttiefdruck I visualise the process. I had to disconnect the process from a more permanent motive, to span an arc between Japanese tattooing/horimono, European printing/drypoit and initiation rituals of ancient African cultures. My work is about discurs.

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One of the tattooed dragons created for the exhibition

What do you love about tattoos? I love so many things about tattoos! They’re simple and complex at the same time. On the one hand you have the simple exchange- I produce something someone else likes, they buy it and we’re both happy. Then there is the aspect of craft, no matter how good my design is I have to be able to tattoo it in a proper way. On the other hand some of the most beautiful and meaningful tattoos are not well crafted at all and because of that they send a stronger message than a good tattoo ever could. As a professional tattooer I also think it’s fascinating that as soon as the tattoo is finished it has no more monetary worth. It can not be sold anymore but it is still valuable for the wearer. No matter how good or bad a tattoo is, no matter if it is meaningful or just jewellery it marks a certain point in your lifetime. But what’s most appealing to me is that there is more to tattooing than meets the eye. The process of tattooing and receiving a tattoo is spiritual to me.

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A close up of one of Etienne’s dragons

What the below video to see the Etienne’s performance and the creation of Bluttiefdruck:

Interview with Tattoo Artist: Mattia Rivolta

Mattia Rivolta is an Italian born tattoo artist who works out of UEO Tattoo in Switzerland. We chatted to Mattia about the process behind his tattoos and what inspires him… 

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How did you become a tattooist, what did you do before? I have spent my whole life cultivating a passion for art, especially painting and sculpture. I first began tattooing in 2004, when I was 24-years-old. I have always been attracted to oriental culture, but when I was learning to tattoo I did all kinds of styles.After a while I began to do more Japanese art as this has always been my first love. I opened a shop in Como in my grandfather’s old cobbler shop, to honour him in a way. If you know a lot of people you can compare your level, assimilate the best elements and suggests how everyone, including yourself can improve.  Tattooing is a life school, you learn how the people are, it is a kind of ‘work in progress for ever’, it not only tests your commitment but also develops your soul.

How would you describe your style?  My style is unique to me, I call it ‘Japan revisited in a modern key’ or UEO. My work is easily identifiable and I wanted to personalise the bodies of my clients, like a signature. I use oriental Japan as a guide, but it is not purely traditional, I don’t like to copy. I like to find the best way of expressing historical figures and turn their energy, stories and beliefs into art.

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What inspires you? I take many of my subjects from books and looking for something usually inspires me. I love mixing real elements of Japanese, new school and traditional with different perceptions.  I try not to use the internet as it is too commercial. I am inspired by the feeling I get when I see the result of my drawing and planning tattooed onto my client. I think that the place in which you live is radically important to the way you work. When I was in Japan, it was great, I was excited and everything I experienced added to my soul and excitement.

Can you explain the process behind your tattoos?  The process of transferring thoughts into ideas start with concentration; at the beginning the background starts to move, after that I try to focus the subject in my mind. Everything in my head is dynamic, I think that the movement is my work is my calling card, especially in Italy, as many artists tend to do fixed or flat shapes. On the contrary Japanese work is all about fluidity and balance. The process of tattooing is very intimate both physically and psychologically. I fit the pieces on the client’s body to enhance them, respecting their personality and energy. In the years there are many changes to the body and you have to attentively study the customer’s body.

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What do you like to draw or tattoo? I really enjoy drawing my designs onto people’s bodies rather than using a stencil. I think they fit so much better and the movement of the lines add a flow to the images. I try to find more unusual subjects and broaden the Japanese horizon in my work and I tend to mix styles.

Do you have any advice for those starting out in the tattoo industry? The more hours you give to study, the more an artist grows. The key word is DEDICATION , and also a little talent can explode. I am continuously studying and pushing myself, my life is an ongoing commitment to my work. I live and breath art, I live in an artistic dimension and I love it!

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What does the future hold, do you have any conventions planned? My biggest wish is to travel a lot in more and to work at more conventions. I really want to work on more full body pieces, as I love working on a large scale, I find it really satisfying. Although I am always striving to be better and I am critical of my own work. I aim for continuous growth and progression, to do the best tattoos I can do.