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Yutaro Sakai: Interview by Crez

I’ve met Yutaro through his talented wife Claudia DeSabe, an old friend of mine. He is a very talented and humble tattooer, now working in London at the Seven Doors Tattoo. He has been tattooing in the US before and I really like his style, taking the direction of classic tattooing. This guy is really full of energy. Here is his answers to my questions… Enjoy!

When and how did you get started in tattooing?

I did my first tattoo in 1995 in Japan. I don’t want to go into detail but I borrowed my friends tattoo machines and tattooed friends of mine and myself. I move to California in 1996 and got an apprenticeship at HB tattoo in Orange County California and after one year of apprenticeship, I start tattooing professionally.

How long did it take to get the first proper results?

I honesty don’t remember. I feel that I am still progressing and wanting to improve to reach even better results… so it’s been taking 22 years and I know that I can make more progress.

Do you consider painting a part of your learning process? Tell me about your drawing and painting routine…

Yes I really think painting is very important part of my tattooing. Up until two years ago, I was painting stuff has nothing to do with tattooing. But spending time with Ichibay and Horihiro from threetides tattoo in Japan, completely changed my mind. As soon as I started to paint more tattoo motives, I started to feel more improvement in tattooing. By exploring tattoo design in painting, I am able to organize my ideas and inspirations towards tattooing further. I try to paint as much as possible when time allows me to.

I have been painting Japanese back piece painting to work out many different ideas and inspire people to get lager work. I also paint loosely with sumi on japanese paper to practice looseness and spontaneous inspirations.

Before tattooing were you involved in any subculture (such as punk , dark, metal, rock and roll, or rap)?

I grew up with listening thrash metal music since I was 11-12. I remember I first saw tattoo on picture was misfits tattoo on Cliff Burton from Metallica. I had poster of him in my room.
Later I got into American motorbike culture and start seen tattoos on biker magazine. Growing up in Japan, I did not see any traditional Japanese tattoo unfortunately because they are so hidden.

If you have to pick three tattoo artists that inspire your work who would you mention and why?

There are so many people who have been inspiring me and taking care of me that I am not able to only mention three.

From when you started, how has the business evolved in your country?

Japan has been hurting so much in tattooing industry due of unorganized health law. America has exploded since television and social media got involved with business. It is completely different industry compare to ‘96. I feel that people in America enjoys custom tattooing. I am still learning about tattoo industry in England.

Machines (rotary or coil),Tebori (hand tools), or both? What’s your choice? Why?

I use coil for outline and rotary for shading. I like feeling of coil which have more power, and I can use it like paint brush. I like rotary for shading and coloring because it feels like I can deliver the ink deeper to have maximum saturation. I have been practicing tebori on friends and I am going to try more and to be able to have choice either tebori and machines.

Can you list a top five of your favorite visual Artists of all eras? What is attractive of their work in your opinion.

1. Hieronymus Bosch and Gustav Klimt: their work makes me feel so dreamy and been in different dimensions. I really like that.
2. Utagawa Family, Tachikawa Ryu: their very powerful style makes me feel strong and that inspires me a lot.
3. Hokusai Katsushik: incredible creativity and composition. So many different ideas to express drawing and painting. Always inspiring to see.
4. Kano School: epic proportions of works and many powerful and beautiful artists. Super progressive and classic at same time. Inspires me at all time.
5. Jakuchu Ito: in my mind, he has painted in unconditional love states. His works represent universe. Panting in universal states of unconditional love is my ultimate goal.

How do you feel about the “ban” of tattooing in Japan?

It needs to be changed. It is very unfortunate that Japan does not have law to organize actual cultural practices. There are so many young talents from Japan and there is no customer getting tattoos to express their art. This will be disaster for so many up coming young generations of Japanese tattoo artist who grew up in the soil of classical culture. I hope Japanese society to wake up and save our own culture which so many people in the world alteady appreciate and enjoy.

What’s the most challenging subject for you and why?

All Japanese subjects are challenging to me. Because their origin and own history of the design makes application as tattoo design very deep. It’s so simple there for complicated.

YUTARO INSTAGRAM

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Crez interviews Brian Kaneko

I’ ve had the chance to meet Brian a couple of years ago. I was following his works from long time, he’s a humble and very smart colleague, I’ve enjoyed working side by side with him at true nature tattoo in Arcata Humboldt county northern California, he really gives the customer a great experience, like it should be. I love his perspective on tattooing, and the true love for the craft.

When and how did you get started in tattooing?

When I was about 15 my mom started dating a ceramicist. I was a kind of punk teenager and didn’t want much to do with them. One night he was trying to break the ice with me and ended up showing me a good sized koi tattoo on his thigh. It totally blew my mind. I had no serious interest in tattoos at that point, but I had been raised in a family of art appreciation and always loved to draw, and could tell that it was a really unique piece. He said a friend of his he went to school with at the Art Institute in San Francisco had done it. Then he showed me one on his arm that they had even done as a demonstration in class… turns out his friend was Ed Hardy.
I was totally captivated, and the next day he brought me all the Tattootimes to check out. I had no idea how lucky I was to have the first tattoo I really saw up close be a Hardy piece from the first year at Realistic, and the first tattoo publications I ever saw to be Tattootime.

From that moment on I knew that I’d be getting tattooed and my interest just kept growing.

I moved to a small town in Northern California to go to college in 1995, and ended up finding a local studio that kind of had art and designs that were similar to some of the things I had seen in those Tattootimes. I started getting a few tattoos, and eventually around 1997 got an apprenticeship and dropped out of college. Turns out the guy I started under had apprenticed with Bill and Junii Salmon at the Diamond Club in San Francisco. They came to guest while I was apprenticing, and that had a major impact on me. I felt a very strong connection with them and eventually started to go to SF as often as possible to get tattooed and hang out. Then that morphed into working there a a few times a year, traveling with them, and really getting taken under their wing and having my tattoo education kick into high gear. My view of the tattoo universe (and universe as a whole) was blown wide open, and my mind totally expanded.

How long did it take to get the first proper results?

I feel like I’m still trying to get proper results. Although it is so much less stressful to tattoo with the types of machines and supplies that are available now as opposed to the 90s. I certainly didn’t have it as rough as previous generations might have, but in a lot of ways you did have to be much more resourceful than these days. I actually think a lot about how grateful I am to be in the last generation of tattooers that got into it before the internet. Ordering supplies from one of like three supply companies, buying machines from builders via phone calls and letters, etc. Even drawing wise it’s so much easier now. Any reference you need is a click away. No more going to the libraries or used book stores to try and find reference for certain projects…

Do you consider painting a part of your learning process? Tell us about your drawing and painting routine…

I personally don’t consider painting part of my own personal learning process. If and when I get a chance to paint, its more of a reflection of the tattoo process. A way to create a tattoo image in much looser head space, with none of the stress and emotional involvement of doing it on skin. Drawing to me is the most important part, and if you can throw some color into it and make a print or whatever, that’s certainly a cool and fun bonus. But I feel like I almost need to save all my energy for the actual tattoos themselves. Where I live and tattoo, there isn’t much of walk in culture, and even the smaller tattoos have almost always been custom drawings. I’ve never had much down time to do paintings for myself, and I’ve been extremely fortunate to have been able to tattoo most of the subject matter that I’m interested in. I guess since all the drawing I do is tattoo related imagery, I’d rather just tattoo it…

Before you’ve started tattooing were you involved in any subculture (punk, dark, metal, rock and roll, rap)?…

No specific subculture… But from pretty young age I knew that I didn’t relate to or believe in the mainstream culture I grew up around. It always felt very foreign and fake to me. I guess tattooing was my first real subculture. A world where I was finally meeting folks who I could totally relate to and were basically on the same wavelength. There’s so many amazing people I’ve met and friends I’ve made through tattooing. One common theme has been that it takes little effort to get to know them and there really seems to be a shared trust and respect from the get go.


If you have to pick three tattoo artists that inspire your work who would you mention and why?

1- Junii Salmon. She is without a doubt the strongest and most thoughtful person/tattooer I have ever met. She is the actual embodiment of the traits we associate with Japanese tattoo imagery (strength, wisdom, perseverance, compassion etc). Her understanding of Japanese tattoos and the etiquette associated with them, combined with having a truly visionary and poetic mind has been by far my biggest influence as  tattooer and human.
2- Horitoshi 1. In my opinion, the greatest living tattooer. His style has resonated with me since I very first saw it, and obviously it is the cornerstone of what I base most of my work off of. The immediate impact of viewing his work hits me in the gut every single time…it’s the ultimate mix of strength and finesse.
3- There are a handful of other tattooers that inspire me heavily based on their tattooing, work ethic, natural artistic abilities and overall quality as people (and that I am very grateful to call friends), but as far as inspiration directly on my work, I’ll keep it simple and stick with Junii and Horitoshi…

From when you started, how has the business evolved in your country?

I’m not really sure if I feel the business has “evolved”… tattoo culture has certainly gotten much bigger, but it seems like mostly fat and very little muscle. I think in a lot of ways the 70s-90s was the real peak for modern tattooing… a time and place thing that will never be repeated. Every generation will always most strongly connect with the music, books and art of their teens and twenties, so I’m definitely biased towards the artists and work I was exposed to when coming up. I think most people subliminally feel like there’s more soul or authenticity in the experience we had to the one the current generation is having. I can’t lie. It’s definitely inspiring to see so much amazing work on Instagram. But it’s kind of like eating candy all the time. This thing that used to be a real treat (getting turned on to new and amazing tattoo work) is now just part of the daily routine. Not quite the same as stumbling upon some amazing tattoo in an old book or magazine… or best of all… real life! Some of the most awe inspiring moments of my life have been viewing large scale tattoos up close in person. No picture will ever come close to that experience or do it justice. I do worry that a large segment of tattooers is coming up much more concerned with “getting the photo” than actually thinking about their relationship with the client, and how right the tattoo you’re making is for them. Curious how may people would still be into it if you couldn’t take pictures of your work… just did it with the satisfaction that you put real effort into making a nice tattoo, and the client is happy with it because ultimately it was a commission for them.

Machines (rotary or coil),Tebori (hand tools) or both? What’s your choice? Why?

Rotary. For the style of tattooing I do, a solid consistent hit with no variations works great. The logic when I started using them, as explained by friends of mine, was that the rotary hit was better to mimic a tebori look and feel. I’m also not a very mechanically inclined person, so removing all of the coil machine variables from my head space has been great. I use the same machine for lining and shading…fixed stroke length, no give, and the simplicity that provides really frees up the mind. There might be better tools for very certain applications, but for probably 90-95% of the tattoos I do I use the same size liner and shader and am doing a consistent style of background and color. I was reading recently how the famous samurai Musashi, at a certain point in his life just used a wooden sword for all of his duels. If his spirit and technique were in harmony, then it didn’t matter what weapon what he used. I’d like bring that idea into my tattooing…that the headspace and energy I bring to the session will show through in the tattoo regardless of what brand of machine I might use, or how polished the technique is. Too many choices and variables isn’t always the best thing…

Can you list a Top five of your favorite visual Artists of all eras? What is attractive of their work in your opinion?

No favorites. I’m honestly happy anytime I see any art that I connect with, or think is good.

How do you feel about the “ban” of tattooing in Japan?

I don’t live in Japan, so I couldn’t really say. I am obviously worried for friends of mine who tattoo there and who’s livelihoods might be a risk. Tattooing has always been looked down upon in mainstream Japanese culture, and I can’t imagine its been easy for Japanese tattooers over the years. But they’ve persisted this long, and hopefully will continue to do so. I think if you are meant to do something, you will find a way.

www.truenaturetattoo.com
Instagram: @truenaturetattoo

  • Scritto il 14 dicembre 2017 alle 16:32 da Kaya
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  • Crez tattoo

Manekistefy interviews Kanae

Some years ago I had the chance to meet Kanae at London Tattoo Convention, we spoke a lot about woman condition in Japan and how tattooing is developing in Japanese culture. I was very happy to share common feelings about being a woman tattooer doing japanese style, that’s not so usual! Kanae loves tattooing, her tattoos are solid and reflect her strong determination. She’s developing her own style, that’s one more thing that I like about her!

Let’s talk about the origins… How did your interesting in tattoo start?


Mostly it’s from music influence. I was in a band from when I was 17 years old and I had lots of friends who’s into Japanese hard core, Punk. Some of my friends had tattoos and I naturally started interested in tattoos. I liked tattoos, because it was underground, different, and strong. I started getting tattoos a little bit later, 21 years old. it took some time to decide to actually get tattoos and set my mind to live with it rest of my life.

When did you decide to become a tattooer?


I was 27 years old. I was introduced my teacher (Makoto/Hocus Pocus Tattoo) by my best friend who also was getting tattoos by him. I started getting tattoo by him. One day he was looking for an assistant for his studio, and asked me if i wanted to get the position. He said he could see that I love tattoos and that I was different from the others. It was great enough for me to do job with something I like. iId never got a job like that before, so I did my 100% naturally. I really enjoying working at the environment. Every day was so exciting and happy. Right after I started working for him, I decided I wanna be a tattooer. It took few month to decide… Being a tattooer in Japan wasn’t easy, and I knew this was gonna be life time serious craft work. I really needed to think well, and resolve myself. But at the end, I was like “Fuck it! I will just do it!”. Since then, everyday I’m happy and I feel so lucky to be a tattooer.

Which kind of difficulties did you find in Japan about learning tattooing?


Even today, Unfortunately Tattoo is still not popular and acceptable in Japanese society. Back in the day was still same. I don’t know if I can say especially difficult from learning tattoos ‘in Japan’. Learning tattoo is difficult in anywhere. Maybe there were some difficult things regarding the society, the culture and the generation. It took some years to build my own customers. Especially because I come from a small city. Mostly I couldn’t make enough money to live, so I had to find second job to pay rent and bills. That made me difficult to find time to sleep, because I didn’t want to cut the time for drawing and tattooing. It was physically hard and some people looked down on me because I am a female tattooer. But it gave me energy to push myself harder to get better. One of my customer told me after i tattoed him: “I didn’t think women can tattoo, but actually you can”. I took it as complement. I want to be a good tattooer and I would like people to do not judge me because of sex, age, race. And I am still trying.

You have a shop in London called “Nine Tails Tattoo” since 6 years. How did London welcome you? Was it difficult to open a shop in the city?


London is a big city, and very cosmopolitan. Everyone got opportunity pretty much equally. Having a tattoo shop in London was not so difficult, if I think about the situation in Japan. At least the landlord wouldn’t refuse you because it’s a tattoo shop! Just getting license took long time and that was stressed! And everything cost a lot. But luckily I had my own customers who follow me from the previous shops where I used work. I was nervous about it at the beginning, but it all worked out! Neighbors are so welcoming, so it was totally fine. I never advertised my shop, I wanted to take my time to build up REAL customers. I’m happy that I’m on a right track so far..!

You do Japanese style tattoo, which is very complicated and has a long history. In your opinion, which are the components that create a beautiful bodysuit?


I think the background is the most important part to creat a bodysuit. Background gives it energy, flow, depth, and strength. If the background is alive, the other motives are also alive. Personally I love strong looking tattoos. Having enough amount of black, and powerful movement give the bodysuit looks badass tattoo! It is difficult… I am still trying!

In your opinion, are there differences between creating a male bodysuit and a female bodysuit?


I haven’t done any full bodysuit to someone yet. But if I get chance to do it in the future, I would do strong powerful one with some warriors or dragons or something mannish images. For women, I would do beautiful flowers, phoenix or something with nice curve flow. Personally for female, I like sleeves but no background or back piece. It’ll look more feminine and suits to natural body shape women have.

Which are your favorite subjects in Japanese tattoo?


It’s definitely Dragons! Dragon is my biggest passion. It’s so strong but not scary way, Such a common subject for tattoo, difficult to draw, so much challenge for me to do it right. I want to do simple subject really cool. Dragon is definitely the one!

Which are the artists that influenced you the most?


My teacher Makoto, Kishi (56 tattoo), Hideo Uchiyama, Horiyoshi 2nd, Horitoku 1st, Filip Lue, Mick, Luke Atkinson, Horitoshi 1st, Asakusa Horiyasu, Yokosuka Horihide, Ed Hardy.
There are so many great tattooers… But my teacher always told me: “see what your master learn from”: like nature, old Ukiyoe. Of course learning from tattooers is very important, but what did they learn from? Learn from their roots. What those legends learnt from? I believe that’s gonna make big different for your possibility in the future.

How do you feel to be a woman doing Japanese Style?


I love it! I used to be a tomboy, so it all make sense to be interested in such a strong powerful tattoos. it’s a difficult challenge and it never end. It gives me the reason to live my life!

Nowadays, do you see differences between Japan and England in being a tattooed woman?


Oh yes, Big time! in England, people love tattooed woman! (at least as far as I know). In Japanese culture, most of the people don’t like stand out from the others. Comfortable to be average… Most Japanese men don’t like tattooed women, so naturally women try to be ordinal looking girl. Kawaii stuff. Also lots of people worry about how the parents will think about tattooed women when they get married. It could be a big problem. Japan looks like very advanced country, but some things are very conservative.

www.ninetailstattoo.com
Instagram: @kanae_tattooer


Crez interviews Bunshin Horitoshi

When and how did you get started in tattooing?
I started my apprenticeship when I was 20 years old. Two years later I became a professional tattooer. That is proved by my master.

How long did it take to get the first proper results?
I m still trying to figure out the proper result.

Do you consider painting a part of your learning process?
I paint as much as I tattoo. That’s because I can always get new ideas from painting.

Before you’ve started tattooing were you involved in any subculture such as punk, dark, metal,
rock and roll, rap?

Yes! Hardcore, metal, and punk!

If you have to pick three tattoo artists that inspire your work who would you mention and why?
My master Horikyo I: I got inspired by his color contrast, and by the way he calculated gray and black for background. All his colors and black shading have been solid for a life time. Marcuse (Smilin Demons Tattoo): for his drawing skills; for how he made the design and how it fits on the body shape. Also for the colors, which are so solid. And for his sense of humor. There are too many tattooers I got inspired by. It’s difficult to choose only three.

Can you list a top five of your favourite visual artists of all eras? What is attractive of their work in your opinion?
Kuniyoshi Utagawa: dynamic outlining for the design. Just a legend.
Kyosai Kawanabe: fun drawing. More playful designs. One of my favorite artist.
Hokusai Katsushika: pefect designs. Showing skills about how to draw
Kazunobu Kano: incredible the details of design. Color contrast.
Jakuchu Ito: beautiful design and colors. Different way to style what he made.

How do you feel about the “ban” of tattooing in Japan?
I don’t think it is banned. It’s Just a case. I try my best to make tattoo for my customers that’s enough to think about at the moment.

What’s the most challenging subject for you and why?
Ther are no challenging subjects. I would like to make my tattoo look solid like fresh tattoo for at least 30-40 years. I’ve seen my master ‘s artworks: they was like that and they still are solid.

From when you started, how has the business evolved in your country?
It’s been getting better and better.

Machines (rotary or coil), Tebori (hand tools) or both? What’s your choice? Why?
I had been working by hand (line, color, shading) for the first five or six years. But now I’ve been using machine (coil machine) for the outline only, since last 10 years. I do everything else by hand. Using machine for outlining is faster than tebori. Also I can make it cleaner!… I can make it clean by hand as well, but it takes much longer. I care about the time of my customers. I can make the color and shading solid. And I actually have almost no experience with machine for color and shading.

Follow Bunshin Horitoshi on Instagram: @bunshinhoritoshi


Horihide Rest in Peace, in memory of the master

Hideo Kakimoto aka Horihide, died 21st of April 2017 at the age of 88.

He was one of the most prolific and talented traditional tattoo artist of Japan.

He’s style is recognizable from miles away and have inspired tattooers from around the world.

He was a strong person, very determinated, very professional, he had worked on his paintings and tattoos ‘til the end, an example for all of us.

I was lucky to meet him and get tattooed by him, the following interview was done by me , Shion & Rico some years ago, the word of Sensei Horihide inspire my life as well as the life of many fellow tattooers, he will be missed, hope his example of dedication will keep inspiring this generation of tattooers.

Ciao Sensei, you are my hero.

Where and when have you been born ?
I was born on January 1st of 1929, in Tsurumaki town, Setagaya area in Tokyo, as second son of Seitaro(father) and Teru(mother). My father worked in the Imperial Household, forestry agency at the time, my brother was a student of Nihon University and my younger brother was a little kid.

Tell us something regarding the environment where you grew up, your area, the war , and what happen to you when you were kid, try to focus on what drive your interest in tattooing.
When I was a child I lived in Tokyo, and moved to Yokosuka when I was on elementary school. I started to get interest in tattooing when I was 20 years old, after the War.
I started tattooing around 1951, I was 22 years old.

Did you have a master or do you learn by yourself ?
I was influenced by 2nd Horiuno and 2nd Horigoro but I learned by myself.

Did you have contact with other tattooers at the beginning of your career?
I had contact with 2nd Horigoro and 3rd Horigoro from Tsukishima in Tokyo when they came to Yokosoka to tattoo on foreign people. they both already died. and also Horitoyo from Yokohama who started to use tattoo machine at the same time I did, with whom I had a close friendship and learned together. He also died  already.

Who tattooed you and when? What did you get on you?
I have  dragons both arms, shichibu(7/10) of length, by Yaneguma san from Nabeya Yokocho in Tokyo. and my back peace is Omandala ( a Buddhism prayer surrounded by a dragon) by Yokohama Horigin. He’s already dead.

How was being a tattooer in the end of the 40′s in Japan?

Around 1950, because of Korean war, there was United Nations force and also was many sailors in town because of that there was maybe 10 tattooist coming here at the time. That was a difficult time with not so much work so that was a good chance to work. I’m very thankful for that.

Have you got contact in that period with tattooers from overseas?

I had a little contact with Pinky Yun, when he used to work in Yokosuka. I heard he’s now working in America.

You grew up a style that is recognizable from everyone-else , which are the print artists and the painters that influence you the most?

As tattooists, 2nd Horiuno and 2nd Horigoro. I always used Hokusai and Kuniyoshi artworks as a source of study.

How do you approach to the study of Japanese tattooing? Do you draw with reference in front of you, do you prefer use reality as a reference….. try to explain your way of learning.

I studied the work of the previous generation of tattoists and reproduced Hokusai and Kuniyoshi artworks, I also add my own arrangement and redraw them few times till i reach to a point that I felt satisfied. I think the more we draw, more we learn.

How many bodysuit you think you did during this 60 years?

Backpiece and sleeves with background about 500 people, maybe 10% of that are “munewary”, and 6 or 7 people have full body suits.

Have you got any preference on the subjects, there’s something you like to do more than other, there’s something you don’t like to do?

I like titles that are easy to recognize even for ordinary people, for example popular titles of Kabuki plays.

Do you have apprentices?

they all independent now, but when they were around me they were apprentices.

Are you still tattooing and painting?

Yes, I still tattoo , and I’ve been painting all of this time as well.

Your ideas are a reference to a lot of tattooers world wide, people interested in the real roots of Japanese tattooing, why do you think you work make a so strong impact on other tattooers and customers, what is the point of force in your works?

I think if keep drawing everyday using Kuniyoshi and Hokusai, little by little everyone can develop his own style.

What do you think about modern tattooing in japan?

I started at first doing just tattoos (not traditional Japanese motifs), and at the time Japanese people really didn’t look at them. I think even though nowadays after get a few small tattoos, Japanese costumers end up moving towards traditional Japanese direction. Traditional Horimono have a very different taste from modern tattooing.


Horimono in Venice

Oggi post amarcord per il nostro blog.
Estate 2015, il celebre fotografo e tatuatore nordeuropeo Senju Horimatsu, viene a trovarci in studio per sviluppare una collaborazione con Crez.
Ne nascono una serie di scatti unici che uniscono la bellezza degli horimono di Crez all’occhio poetico del fotografo contestualizzati in una cornice rara quanto speciale come solo può essere la città di Venezia.
Oggi finalmente a distanza di due anni abbiamo deciso di fare una pubblicazione con tutto il materiale raccolto.
Qui vi mostriamo una piccola anteprima con tre scatti inediti di cui due di questi verranno usati nell’annuario del tatuaggio italiano per celebrare i 20 anni di Adrenalink!
For more info check out our social pages!

text: Matteino
pics: Senju Horimatsu


TATTOO EXPO di BOLOGNA

Sembra banale da dire ma la convention di Bologna resta sempre una delle migliori d’Italia nonostante un trend di affluenza leggermente negativo nel primo giorno rispetto allo scorso anno.

Una grossa presenza di studi di alta qualità, italiani e internazionali, ha caratterizzato l’edizione di quest’anno oltre agli spettacoli, le premiazioni  (di cui Crez ha fatto parte della giuria) e gli stand di supply e accessori.

Noi come sempre ci siamo presentati con uno stand massiccio: le postazioni dei nostri tre tatuatori di casa (Crez, Manekistefy e Rio) più quella della nostra amica Violeta Pilar Bea hanno fatto la differenza.

I banner super luminosi, le tavole e soprattutto la qualità del lavoro dei Nostri ha sorpreso molti degli avventori regalandoci non poche soddisfazioni!

Una nota positiva ci è stata data dal ritorno del merchandise, apprezzatissimo da addetti al lavoro e non.

Tutto il merchandise potete ovviamente trovarlo ancora nel nostro studio di via Beccaria e prossimamente nel sito di e-commerce, perciò continuate a seguirci!

Menzione al merito per il nostro social manager Kaya, super attivo durante le giornate di lavoro all’Unipol Arena e colonna fondamentale anche di questo evento!

Ma più di mille parole raccontano le immagini, quindi godetevi la consueta galleria fotografica e un big up per i fioi!

Stay tuned and for more info check out our social pages!

text by Matteino
pics by Kaya




  • Scritto il 8 aprile 2017 alle 19:32 da Kaya
  • Commenti disabilitati
  • Lo Studio tattoo

Continua il successo di TATTOOS FOR BREAKFAST

Quando a gennaio siamo partiti con questa nuova avventura eravamo tutti preoccupati per l’esito e la riuscita di questo progetto e oggi a distanza di ormai 3 mesi dall’inizio di Tattoos for Breakfast siamo pronti a tirare le prime somme.

La formula walk-in sta piacendo tantissimo ed è solo grazie a voi clienti che avete creduto in modo massiccio a questa iniziativa, perciò siamo davvero fieri di informarvi nuovamente che per Tattoos For Breakfast non è prevista una data di scadenza. Si va avanti a oltranza, si prosegue finché la cultura del tatuaggio riuscirà a catalizzare la vostra attenzione.

Per gli aficionados non possiamo che spendere ulteriori parole di ringraziamento e invece per i neofiti vogliamo spiegarvi di cosa si tratta: Tattoos For Breakfast è una formula di walk-in continuativa tipica delle grandi metropoli americane e nord europee, posti dove la cultura del tatuaggio è quotidianità. Consiste nella possibilità, dal martedì al sabato e dalle 9,00 alle 14,00, di tatuarsi senza appuntamento scegliendo soggetti presi dalle tavole dei nostri due tatuatori, Diego Knore e Patrick Gasperi, oppure piccole references portate da voi facilmente tatuabili.

Entri, scegli il soggetto, ti tatui e te ne vai più bello/a e con il sorriso, provare per credere!

Tattoos For Breakfast, tatuaggi senza appuntamento, dal martedì al sabato e dalle 9,00 alle 14,00, what are you waiting for?

For more info stay tuned and check out our social pages!

Diego Knore

Patrick Gasperi

Diego Knore

Patrick Gasperi

Diego Knore

Patrick Gasperi

Diego Knore

Patrick Gasperi

Patrick Gasperi



TATTOOS FOR BREAKFAST, tatuaggi senza appuntamento

Tattoos for Breakfast

In occasione del ventesimo anniversario, a partire da Gennaio 2017 Adrenalink presenta un nuovo servizio:
“TATTOOS FOR BREAKFAST”
Dalle 9.00 alle 14.00, da Martedi al Sabato, puoi venirti a fare un tatuaggio senza bisogno di fissare appuntamento prima.
Con la formula Walk-in, la mattina Adrenalink si trasforma in un vero e proprio “tattoo parlour” tipico delle città portuali di tutto il mondo.
Potrai tatuarti qualsiasi soggetto: scritte, cuori, mandala, simboli vari e in più ogni settimana i nostri resident tattoo artists – Diego Knore e Patrick Gasperi – proporranno tavole nuove di zecca dalle quali scegliere i soggetti che desideri.

Crediamo che ogni tatuaggio meriti la cura che riserviamo a tutti i nostri lavori ormai celebri nel mondo per precisione, professionalità e pulizia.

Faremo in modo che ogni tuo tatuaggio sia un esperienza unica che potrai portare con orgoglio su di te per tutta la tua vita.
Ti aspettiamo dal 10 Gennaio 2017.

Buone Feste da ADRENALINK CREW

  • Scritto il 3 dicembre 2016 alle 14:28 da Kaya
  • Commenti disabilitati
  • Lo Studio tattoo

TATTOOS IN THE HOOD vol 2 photos

Grazie a tutti di essere passati a Tattoos in the hood vol 2.
Tenetevi pronti per il vol3!
Nel frattempo gustatevi le foto.



Adrenlink Tattooing Marghera

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