Style

Colour and traditional tattoos

Colour work lives or dies on two things: line weight and how well the colour is packed. Both are craft problems, not taste problems, and both are why a well made traditional piece outlasts a fashionable one.

Bold lines exist for a reason

Traditional and Japanese tattooing use heavy outlines because ink spreads in skin over decades. The line is the fence that keeps the colour where it was put. A piece drawn with hairline outlines and soft colour can look beautiful for two years and muddy at twenty.

Packing colour properly

Saturated colour takes more passes than most people expect, and it is harder on the skin than shading. On larger colour pieces the work gets split so the area has a chance to settle between sessions. That is a quality decision as much as a comfort one: overworked skin does not hold ink well.

Japanese and large-scale work

Japanese pieces are designed to fit the body as a whole, so the layout conversation happens before any of it is drawn up. Expect to talk about the whole limb even if you only plan to start with part of it, because a sleeve that was never planned as a sleeve is the hardest thing to finish well.

Examples

Colour and traditional tattoos from this studio

Photographed at the Tongarra Rd shop. Nothing here is stock imagery or another studio's work.

  • A full colour phoenix and dragon back piece in progress, photographed from above while the artist works on the lower back
    Full colour back piece, built over multiple sittings. Phoenix, dragon and blossom, laid out to follow the spine.
  • A Japanese style hannya mask sleeve at the linework stage, with a pagoda and clouds already outlined
    Japanese sleeve at the linework stage. The colour goes in over several more sittings.
  • A colour horror film character portrait on a thigh, lit in orange against heavy black shadow
    Colour horror portrait. Warm background packing, with the face left to carry the detail.

Who to ask for

Artists who take this on

  1. Adam Paterson

    Artist and owner

    Works across colour, black and grey and cover-ups, and takes on a lot of the studio's larger multi session pieces.

  2. Glenn Phipps

    Artist

    Colour and black and grey work, including large scale pieces and portrait style subjects.

Talk to us about a colour and traditional piece

Give us the idea, the rough size and where on your body it is going. If you are not sure whether it will work at that size, say so and we will tell you.

Ring the shop
(02) 4257 8288
Open
Mon to Fri 10:00 to 5:00pm
Sat 10:00 to 4:00pm, Sun closed

We reply inside one business day. No newsletters, no chasing. Just a conversation about the brief.