Artists Daniel Ray

Biography

Meeting the tattooist who changed his life

I was born in 1988 in South Carolina, USA, to an American father and Japanese mother. When I was two years old, we moved to Okinawa, my mother’s home country, and I started life as a Japanese person.

I was good at playing by myself, and when I was three years old, I used to complete LEGO blocks for 14–16-year-olds by concentrating for a whole day on the pictures in the instruction manual. I also liked drawing more than anything else.
I started by drawing my mother’s car when I was four years old, and even looking at it now, I think I was able to draw quite well for a four-year-old.

I was born and raised in Kadena, Okinawa, where the Kadena airbase is located, and I was able to make friends easily, which also helped me to fit in with everyone and make friends wherever I went, until I graduated from junior high school.

After graduation, I enlisted in a Self-Defence Force vocational training school called “Development Corps” in the eastern part of Okinawa Prefecture. Here, within six months, I was able to acquire a number of qualifications, mainly related to construction. Soon after, at the age of 15, I moved to Tokyo to gain more experience in the field, where I started working as a reinforcing steel worker.

It was during this time that I met a tattoo artist who changed my life.

He told me, “I will teach you how to engrave tattoos by modifying an electric toothbrush sold at a 100-yen store.” I was young at the time and didn’t realise the tattooist was joking, but the idea took root, and my pride often pushed me to attempt something I couldn’t do, so I devised my own way to create a tattoo machine.

I decided to use my homemade piston mechanism to create a dragon’s face on my leg using India ink, but just after I had finished the dragon’s face, the mechanism, only made of plastic, broke into pieces. I gave up on it because it couldn’t be repaired, but one day, by chance, I caught the attention of that same tattooist who joked with me about making a homemade ink-pen. He invited me to his studio, and my life as a tattoo artist began. I was 16 years old.

Swimming against the rapids

After training under the tattoo artist for some years, when I was 20 years old, I came to Kyoto, where my current studio is located.

I wanted to set up my own studio right away, but there was something I desired to experience before that. That was to master the craftsmanship that has been handed down from generation to generation for more than 1,300 years, the art of being a Buddhist statue sculptor.

For about four and a half years, I spent almost the entire time holed up in the mountains at one of the largest Buddhist statue sculpture studios in Japan, working on everything from giant Buddha statues several metres high to those as small as three centimetres in diameter. In the world of Buddhist statue sculpture, I acquired all kinds of knowledge about Buddhism, including genuine ‘Japanese’ artistry and design skills, the ability to perceive Buddhist statues in 3D (three dimensions), the history of Buddhist statues and Sanskrit characters, which I would not have learned if I had only been in the world of tattoos and tattoo art. It was and still is a great asset for me to learn and gain experience.

In order to realise my dream of setting up my own studio as a tattoo artist, I started my life as a travelling tattoo artist while continuing my work as a Buddhist statue sculptor. Every day, when I finished my work as a Buddhist sculptor, I would work as a tattoo artist. I slept two hours or less. My body was screaming, but in my head I had an image of a game I used to play as a child where I would run up a downward-moving escalator – I had to keep running or I would maintain the status quo, or worse, go backwards.

In December 2012, with the help of many people, I opened a studio in Katsura, Kyoto, the predecessor of my current studio.

It was no mean feat to come to Kyoto alone, without any friends or acquaintances, and start a business. I think it helped that I had built up a foundation as an artist while I was cutting down on sleep and working as a travelling tattoo artist.

The studio I set up in Katsura had a nice, quaint environment, but it had the disadvantage of being far from the station and difficult to access, so two years later, in 2014, I moved to Horikawa Gojo, where it was easier for customers to visit and more people knew about TATTOO STUDIO Ray’s It was easier for customers to visit and more people became aware of TATTOO STUDIO Ray’s, and my work suddenly became more fulfilling.

White tattoo research

Since the opening of the first studio in Katsura, as the number of customers increased, from first-timers and referrals to tourists, I was constantly thinking and worrying about how to grow the business. Eventually, I came to the conclusion that I needed to learn three things: what other artists are not doing, what is new in this industry, and what no one can imitate.

After much deliberation and asking myself these questions, I found my way to research white tattooing, which is created only with white ink.

White tattoos are usually frowned upon in many other tattoo studios. The reason why white tattoos are frowned upon is that it is difficult to get the colour tones of white ink evenly into the skin, and the transfer agent colours blend together and do not look good.

White tattoos also discolour when mixed with ‘blood’, which is produced during the procedure. Furthermore, white contains a titanium component, which makes it difficult for people with metal allergies to get the colour. Therefore, deeper stabbing can exceed the tolerance of the skin tissue, resulting in scars and even a keloid condition.

In view of these events, I conducted daily research on how to get white ink on the skin vibrantly, beautifully and safely.

By solving the factors one by one and repeating the investigations and research, I was finally able to perform white tattoos safely and beautifully.

The first of the several secrets is to reduce the bleeding during the procedure so that the clients can come to our studio and have a safe and secure experience.
This is a fundamental part of my work as a tattoo artist, and something I still need to continue to develop. Through constant improvement and hard work, I have been able to achieve a procedure that bleeds less, heals faster and is as painless as possible.

Tattooing in Japan today has a slightly demeaning atmosphere and, combined with the old yakuza tattoo culture, does not give a very favourable impression. Overseas, especially in the USA, Europe and Australia, tattoos are regarded as part of fashion, like piercing a hole in your ear or wearing a piece of clothing, and are a part of the culture that has adapted to society without any problems.

Today, international tattoo competitions are regularly held in countries around the world, such as Germany, London and the U.S., often with cash prizes of 10 million yen for the winners; in 2015, an international tattoo competition was also held in Japan’s neighbouring country, Taiwan.

With Japan’s unique cultural background and subconscious image of tattoos (specifically tattoos are viewed as unusual and generally bad) we felt that white tattoos could easily be accepted as a way for more people to enjoy tattoos as a fashion statement.

The joy of being told "I'm glad I came here!"

We are very happy and very grateful that people come to TATTOO STUDIO Ray’s from other prefectures outside of Kyoto, and from far away.

Some of them have their first tattoo and some of them come to our shop after visiting various shops. It’s embarrassing to say it myself, but what people say about me is “I am easy to deal with”, “everything from the initial counselling to the final outer care is thorough” and that my language “is polite” – I am ashamed to say that my language is not polite, but I speak with a spirit of hospitality. Regarding the procedure, customers often say that “it does not hurt, does not bleed, the colour is beautiful, the treatment is fast, and that I have a high level of treatment skill”.

I am glad I have come all this way! These comments make me very happy and encourages me more than anything else.

What has led to an increase in the number of people coming from far away is our website and social networking sites such as Facebook. We created the website with the intention of getting more people to view our style and procedures, and generally feel comfortable about tattoos. We also use the time in between treatments to post articles on Facebook and Instagram about what’s currently going on in the studio and about our tattoo work.

A customer who visited our website said, “I was so anxious about my first tattoo, but the website put my mind at ease.” I liked the style of the images on the gallery on the website and on Instagram, so I decided to give it a try.” We have received many similar comments from our customers.

In recent years, we have had visitors not only from all over Japan, but also from our neighbours in China and Taiwan, across the Pacific Ocean to the USA, Canada, Brazil, New Zealand and Australia, and even from European countries such as the UK, France, Germany, Spain, Italy and Switzerland – literally from all over the world!

This is partly because Kyoto was ranked as the number one tourist city in the world in 2015 and 2016, but also because some of our customers book through email, Facebook and Instagram messages. Some of them have even visited our shop several times as repeat customers.

We want these international customers to be just as satisfied as our Japanese customers, so we provide all consultations and instructions in English. We also produce an English version of the tattoo consent form and aftercare instructions to ensure that even the smallest details are conveyed.

As a studio located in Kyoto, Japan, we are committed to creating a positive image of our tattoo studio throughout Japan with a spirit of hospitality.

When I hear that people have come to my studio, not just to visit Kyoto for sightseeing, and also spending their money on transportation and sometimes even accommodation, I feel that what I am doing is worthwhile. I am very grateful that my studio’s existence and techniques are spreading in places I couldn’t have imagined, and that people come all the way to visit me for it.

Thorough safety and hygiene is a prerequisite for tattoo artists

What we are particular about in terms of hygiene and safety is that, whether people are aware or not, we are quick to remove the consumables in the treatment room (sheets, pillowcases, other consumables used for treatment, etc.) and metal materials for cleaning from the treatment room after the treatment is finished, and we use disinfectant solution to cover all surfaces (tables, chairs, their backs, back of lights – all areas that customers would have touched or could have touched) are sterilised with disinfectant.

All disposable items, such as sheets, ink caps, tips of machines, etc., are disposed of.

Such disposable items are promptly removed from the room and disposed of, and all areas where they have been or could be touched are sterilised without fault. Furthermore, instruments that cannot be disposed of are brushed with chemicals after use, placed in an ultrasonic cleaner, visually checked for residual contamination and washed twice with water before being further sterilised in a high-pressure, high-heat washer.

This high-pressure, high-heat washer can eliminate most infection-causing bacteria, but for even greater safety, the equipment is placed in a machine called a steriliser in order to raise the rate of sterilisation from 100% to 150%.
Here, the equipment is individually placed in sterile packs, sealed and exposed to the ultraviolet light of the steriliser, ready for sterilised storage.

By taking sufficient measures against infection, from brushing to the high-pressure, high-heat washer and the steriliser, I believe that both the clients and myself can use the studio with peace of mind, so this is the one point where we can’t cut corners.

What I am afraid of when performing treatments in a studio where these hygiene and safety measures are not in place is infectious diseases such as HIV and Hepatitis C.  I have heard of those who do not understanding the need for taking such measures, for example, I have heard of cases where expensive ink is re-used to save money and even needles are re-used! Needles are expensive, and it is understandable that it may seem wasteful if only a small single point is used on one occasion, but considering what can happen later as a result of this, for me it is absolutely impossible to re-use needles.

We believe that thorough safety and hygiene is a prerequisite for being a tattoo artist. I don’t think it’s acceptable that high-technology alone is adequate if safety and hygiene are neglected, and more-so if knowledge, experience, responsibility, and responsiveness are lacking. A studio with good hygiene practices also shows a high quality from design to treatment, and I have a lot of respect for that. Conversely, it is obvious from their techniques how safety management measures are implemented.

Failure is impossible

Our philosophy and policy when providing tattoos to our customers is to never cut corners. It’s both an advantage and a disadvantage, but you can’t get away with it. During the entire process of counselling, treatment, and aftercare, we cannot be dismissive of our philosophy and policies – which can appear to be both good and bad.

For example, many of our customers come for counselling because they have a specific wish or a request and say things like “please make this pattern”. Adversely, some customers simply say, “I just want a tattoo!”

We cannot create the best result unless we combine the content, elements, treatment location, and design concept that the customer is looking for, with our studio’s unique approach and design. I don’t want the burden of negative feelings about the tattoo, and so I don’t want customers to think this is simply a momentary thing. I want them to think about the future, and to go beyond the obvious ‘conditions’ of the tattoo. I don’t want customers to ever think ‘I wish I hadn’t done that tattoo’ or ‘I wish I could get rid of that tattoo.’

For this reason, we believe that counselling is very important because it motivates us to make the tattoo we create into something that you can consider a work of art.

The consultation time is not always the same, sometimes a design is decided in 10 minutes, sometimes after 3 hours, and sometimes some customers come back days later after having more time to think about it.

It is important that the tattoo design is exactly what you want, so we spare no effort and time in counseling. Counseling is not only related to the treatment, but also to the customer’s future afterward.

Similarly, if we cut corners during the consultation, or finish the design based purely on my opinion and my advice, then the only outcome will be a customer with the thought “oh, so that’s what a tattoo from TATTOO STUDIO RAY’s is like…”, “It’s just average…” or “it’s a bit messy here…”. It’s a blow to my motivation and my pride.

This is why, to avoid such comments, the most important thing is the consultation. And no matter how much time it takes, I will give my 100%, 120% or more effort and counsel you thoroughly, no matter what the content. Customers may feel a little uncomfortable if we go back to the drawing board once a design has been decided upon, or if it takes a long time to decide on a design, but personally I don’t feel bad about it at all.

Even if you want to have a lot of tattoos, we start with one area first, or if you already have a lot of tattoos and you want to add a design, I think it is the tattoo artist’s job to advise you on the overall balance, rather than just engraving what the customer wants.

Sometimes we receive enquiries by phone or email, but because we can’t see the customer, we can’t just reply, “sure, that will be a nice tattoo.” I have to meet the customer in person and make a variety of suggestions to get a good balance between the fashionable and the original meaning of the tattoo. The minimum requirement is that the treatment is carried out.

Counselling is free of charge, but for us it is as important as practicing good hygiene.

I always feel a sense of pressure and responsibility because I am getting a tattoo that will last a lifetime, whether small to large tattoos.

There are no failures. If I would fail, I wouldn’t do it.

Challenges and aspirations lead to evolution

A design that has been completed through counselling is one that both the tattoo artist and the customer are completely satisfied with. The customer often has a mixed feeling of relief that they can finally proceed with the actual treatment, and a sense of responsibility that they will carry the work for the rest of their life, even a sense of nervousness that various people may see the work in the future.
It’s often a mixed bag. In my case, on the other hand, I have far greater expectations of the work.

I always give it my all, incorporating my past experience and knowledge, so even if it’s just a one-point tattoo of 1 cm square, I never cut corners. I am a person who ensures that I don’t get myself in a situation where I may feel guilty, and so I will not let up on even the smallest piece of work. As such, upon completion, I always feel a sense of accomplishment and am never ashamed of my work.

I am proud to say that my skills will probably improve over the next year, two years and even ten years. As long as I don’t end stop my inquisitive spirit, I will continue to improve. I believe that unless I always set my current standards higher than yesterday’s and become more than I was the day before yesterday, I cannot be called a true professional.

As long as you have the awareness to surpass yesterday’s self, you will not be crushed by responsibility and pressure, but rather you will enjoy it. And that is what I find rewarding in my treatment, and equally challenging and ambitious. And it is because all these things are in harmony that I am able to enjoy this practice every day.

I want to clear up the public's image of tattoos

In the world of tattoo artists, each artist has his or her own personality and way of thinking. I cannot estimate whether my ideas will resonate with you, much less whether they are the right ideas. Indeed, most may not be share this idea, but among the various ways of thinking I hear in this world, one way is that ‘tattoos have value precisely because we are an environment where tattoos are often forbidden.’

In a way, I think this idea is spot on. I think that there are definitely advantages and certain values to having a tattoo in a situation where it is not allowed. I neither confirm nor deny this. I would like to see tattoo artists themselves create an environment where tattoos are accepted by the general public, so that the time will come in Japan when tattoos can be accepted and enjoyed as fashion and art without feeling guilty or ashamed of having a tattoo. We want to cooperate with the industry as a whole and aim for a higher level of tattooing.

In order to achieve this, I think that from counselling to treatment, hygiene and customer care could be different from the traditional route. It’s difficult to question the whole thing, but since tattoos have a gray and dark image, I think it will be difficult for them to be more accepted in Japan unless the perception is lighter.

Artists who are studying the art of tattooing share this feeling to make the whole thing clear and create an environment where they can compete with each other’s skills while incorporating the opinions of their customers.

The work of ‘tattooing’ is not completed by the artist’s opinion alone, nor by being moulded, but only when the customer is present and their opinions and requests are given form. We want to create a new tattooing system that has everything in place: an environment where tattoos can live, a design for balance, customer care, hygiene, etc.?

There is hope that the tattoo industry can still avoid criticism and critique in Japan if the whole system is in place and the environment is safe for each and every one of them.

Rather than concluding that it is impossible before taking action, we should think and act as much as we can, and then take further action according to the results. That’s what I’m aiming for, and that’s what I want to convey to as many people as possible in my heart.

Creating the design the customer wants.

The preliminary design of the tattoo is created once and submitted to the customer for confirmation, but there is a difference between the submitted design and the design required when the tattoo is actually performed.

The design that is required when performing the procedure is only an outline, which is a reference line based on the assumption that the tattoo will be performed, showing where it will be located. Due to the structure of the transfer sheet, which is applied to the skin, it is not possible to transfer the finished design in its entirety. It is actually necessary to have a design with only lines where the artist knows what the finished drawing will look like. However, this makes it impossible for the customer to see the finished product, which is associated with uncertainty. However, it takes time to completely finish a single drawing, which makes the customer wait, and we have to be speedy and concise for the sake of the many other clients who are waiting for the work to be done.

In order to give them a clear picture and to make things flow smoothly, I write down the finished product in fragments or outline the overall structure and balance before starting the work.

When I start designing, I create a design for each customer based on my memory of the consultation and the detailed information on the counselling sheet, but with the restriction that I cannot remove all the items on the sheet, I am put in a situation where my design skills are put to the test.

Tattoos are not “drawings”. Tattoo artists are not painters. The tattoo procedure is the benchmark for everything. The work is finished when it becomes a tattoo. No matter how good the drawing is, it must not look distorted and unappealing when balanced against the curvature of the skin. It is necessary to have design skills based on an understanding of the body dimensions, the area to be treated and the range of motion of the joints.

Above all, we consider it as a criterion that the customer likes the design at the first shot. Sometimes I do my best to draw the design so that there are no rewrites, and sometimes I get an OK on the first shot, but of course there are times when I receive feedback on how I would like the design to look a little more like. By realising the design, the customer gets a better idea of what it will look like in real life, and sometimes changes are made. This is a great asset for me, because it means that the work will be better, and I can make revisions to achieve the customer’s idea of a better work.

In some cases, I can get a clearer picture and a better image from a single meeting, while in other cases, revisions can result in a better design that I didn’t fully grasp. Either way, a masterpiece is created, so the standard for design is to never compromise the customer’s wishes.

Staff are indispensable

Every member of staff has their own unique strengths. Because they have different skills and abilities, they are good at some things and not so good at others, and the key is how to put the right person in the right place.

Some are better suited to clerical work, others to technical work, others to sales advertising, and we try to create a place where each person can feel challenged in their role and want to do their best while facing hardships, including the smallest of chores.

The male staff, who are entrusted with all administrative and assistant duties, each work hard with a desire to improve. Sometimes I have to be harsh with them, but they seem to feel love and sincerity in that and find it worthwhile. The staff are indispensable.

In our 24-hour operation, I operate about 21 hours a day. As the number of customer bookings increases, so does the burden of the chores, so I am always fully occupied. This is where having staff who back me up in various ways really helps.

Having staff means more brains, which in turn means more new ideas.

I feel every day that I benefit more from it. I feel that by teaching, I am growing.

I think I am in the position of being taught rather than teaching. I have the responsibility that because I am asking them to achieve, I must also always seek to achieve by example.

Tattooing is an expression of the 'shape of the heart'.

For first-time tattooers, there are many concerns, such as not being able to have x-rays or CT scans in hospital, rumours of itching or pain, and the fear of not knowing how they will be seen socially.

Nevertheless, if you have a strong desire to get a tattoo, we recommend that you have a thorough consultation with your tattoo artist to fully consider your situation.

Is it something you should get? Is it too early to get it now, or is it something that should not be tattooed? Should it be visible or invisible? We would like you to think about these questions and then go ahead with the tattoo at your own risk.

It is also important to be true to yourself and not lie about your feelings. Many people come to us because they wanted to get a tattoo when they were young, but held back, got married, had a baby, and after raising their children, they still wanted to get a tattoo.

Tattooing is an expression of the form of the heart – a new art form created between one person and another. I feel there is great value in the art that is created by the fusion of mutual thoughts, feelings and experiences.

Instagram

【Fox & Flower】
⁡ We are committed to quality using Japan's top-class technology. We live our lives with a sense of mission to please our customers.

【Inks used】
・Dark Shading★
・Medium Shading
・Light Shading
・Extra Shading
・Ray’s White
⁡
【Needles used】
・0403RL
・0603RL
⁡
by Daniel Ray Brewster
⁡
▶︎公式HPや各種SNSへは、プロフィール欄記載のリンクツリーからどうぞ!
⁡
▶︎京都スタジオ @tattoostudiorays
⁡
▶︎東京スタジオ @tattoorays.tokyo
⁡
▶︎ONLINE STORE  @tattoo.rays
⁡
▶︎Check the link in the profile‼️
•TATTOO official site (公式HP)
•YouTube (番組配信してます!)
•X(旧Twitter) 『rays_co』で検索してね
•ONLINE STORE(アパレル)
•Official LINE(ご予約、お問い合わせ)
⁡
※現在Googleマップ以外での地図アプリでは、正確な店舗位置が表示されませんので、必ずHPから所在地のご確認をお願い致します!
⁡
⁡
⁡
#tattoo #tattoos #ink #inked #tattooed

【Fox & Flower】
⁡ We are committed to quality using Japan`s top-class technology. We live our lives with a sense of mission to please our customers.

【Inks used】
・Dark Shading★
・Medium Shading
・Light Shading
・Extra Shading
・Ray’s White

【Needles used】
・0403RL
・0603RL

by Daniel Ray Brewster

▶︎公式HPや各種SNSへは、プロフィール欄記載のリンクツリーからどうぞ!

▶︎京都スタジオ @tattoostudiorays

▶︎東京スタジオ @tattoorays.tokyo

▶︎ONLINE STORE @tattoo.rays

▶︎Check the link in the profile‼️
•TATTOO official site (公式HP)
•YouTube (番組配信してます!)
•X(旧Twitter) 『rays_co』で検索してね
•ONLINE STORE(アパレル)
•Official LINE(ご予約、お問い合わせ)

※現在Googleマップ以外での地図アプリでは、正確な店舗位置が表示されませんので、必ずHPから所在地のご確認をお願い致します!



#tattoo #tattoos #ink #inked #tattooed
...

【フルスリーブタトゥーの1回目】
合計7匹の愛犬&愛猫をタトゥーで入れたいと相談を受けて、そのままではなくオブラートに表現していいと言う事だったので、それぞれ別の生き物で表現することになりました💡
今日はその1回目で、花と狐を施術しました。
ディテールがヤバイ作品写真&動画めっっっちゃ溜まっているけど、なかなか写真の選別に時間かかるし忙しさに負けて全く投稿できてない😂
楽しみにしてくれている方々のためにもアップしたいのですが…😁💦
完成する前の経過だと編集に気を使わないですし、経過の見栄えいい感じなのでサクッとアップしまーす😄
⁡
【Inks used】
・Dark Shading★
・Medium Shading
・Light Shading
・Extra Shading
・Ray’s White
⁡
【Needles used】
・0403RL
・0603RL
⁡
by Daniel Ray Brewster
⁡
▶︎公式HPや各種SNSへは、プロフィール欄記載のリンクツリーからどうぞ!
⁡
▶︎京都スタジオ @tattoostudiorays
⁡
▶︎東京スタジオ @tattoorays.tokyo
⁡
▶︎ONLINE STORE  @tattoo.rays
⁡
▶︎Check the link in the profile‼️
•TATTOO official site (公式HP)
•YouTube (番組配信してます!)
•X(旧Twitter) 『rays_co』で検索してね
•ONLINE STORE(アパレル)
•Official LINE(ご予約、お問い合わせ)
⁡
※現在Googleマップ以外での地図アプリでは、正確な店舗位置が表示されませんので、必ずHPから所在地のご確認をお願い致します!
⁡
⁡
⁡
#tattoo #tattoos #ink #inked #tattooed

【フルスリーブタトゥーの1回目】
合計7匹の愛犬&愛猫をタトゥーで入れたいと相談を受けて、そのままではなくオブラートに表現していいと言う事だったので、それぞれ別の生き物で表現することになりました💡
今日はその1回目で、花と狐を施術しました。
ディテールがヤバイ作品写真&動画めっっっちゃ溜まっているけど、なかなか写真の選別に時間かかるし忙しさに負けて全く投稿できてない😂
楽しみにしてくれている方々のためにもアップしたいのですが…😁💦
完成する前の経過だと編集に気を使わないですし、経過の見栄えいい感じなのでサクッとアップしまーす😄

【Inks used】
・Dark Shading★
・Medium Shading
・Light Shading
・Extra Shading
・Ray’s White

【Needles used】
・0403RL
・0603RL

by Daniel Ray Brewster

▶︎公式HPや各種SNSへは、プロフィール欄記載のリンクツリーからどうぞ!

▶︎京都スタジオ @tattoostudiorays

▶︎東京スタジオ @tattoorays.tokyo

▶︎ONLINE STORE @tattoo.rays

▶︎Check the link in the profile‼️
•TATTOO official site (公式HP)
•YouTube (番組配信してます!)
•X(旧Twitter) 『rays_co』で検索してね
•ONLINE STORE(アパレル)
•Official LINE(ご予約、お問い合わせ)

※現在Googleマップ以外での地図アプリでは、正確な店舗位置が表示されませんので、必ずHPから所在地のご確認をお願い致します!



#tattoo #tattoos #ink #inked #tattooed
...

【Lion × Wing × Crystal】
by Daniel Ray Brewster
⁡
@rays.daniel 

⁡
▶︎公式HPや各種SNSへは、プロフィール欄記載のリンクツリーからどうぞ!
⁡
▶︎京都スタジオ @tattoostudiorays
⁡
▶︎東京スタジオ @tattoorays.tokyo
⁡
▶︎ONLINE STORE @tattoo.rays
⁡
▶︎Check the link in the profile‼️
•TATTOO official site (公式HP)
•YouTube (番組配信してます!)
•X(旧Twitter) 『rays_co』で検索してね
•ONLINE STORE(アパレル)
•Official LINE(ご予約、お問い合わせ)
⁡
※現在Googleマップ以外での地図アプリでは、正確な店舗位置が表示されませんので、必ずHPから所在地のご確認をお願い致します!
⁡
⁡
⁡
#tattoo #tattoos #art #tattooartist #ink #tattooart

【Lion × Wing × Crystal】
by Daniel Ray Brewster

@rays.daniel


▶︎公式HPや各種SNSへは、プロフィール欄記載のリンクツリーからどうぞ!

▶︎京都スタジオ @tattoostudiorays

▶︎東京スタジオ @tattoorays.tokyo

▶︎ONLINE STORE @tattoo.rays

▶︎Check the link in the profile‼️
•TATTOO official site (公式HP)
•YouTube (番組配信してます!)
•X(旧Twitter) 『rays_co』で検索してね
•ONLINE STORE(アパレル)
•Official LINE(ご予約、お問い合わせ)

※現在Googleマップ以外での地図アプリでは、正確な店舗位置が表示されませんので、必ずHPから所在地のご確認をお願い致します!



#tattoo #tattoos #art #tattooartist #ink #tattooart
...

【ドットのポートレートタトゥー】とりあえず今日はここまで!
淡いアウトラインを引ききったら終わろうかと思っていたのですが、コンディションも良かったので7部仕上げくらいまで進めちゃいました😆
最終的には両腕フルスリーブ&フルチェストの予定です💡
背景にアカンサスやローズ、スモークで飾っていきたいと思っています😄

【Inks used】
・Dark Shading★
・Medium Shading
・Light Shading
・Extra Shading
・Ray’s White

【Needles used】
・1203RL

by Daniel Ray Brewster

▶︎公式HPや各種SNSへは、プロフィール欄記載のリンクツリーからどうぞ!

▶︎京都スタジオ @tattoostudiorays

▶︎東京スタジオ @tattoorays.tokyo

▶︎ONLINE STORE @tattoo.rays

▶︎Check the link in the profile‼️
•TATTOO official site (公式HP)
•YouTube (番組配信してます!)
•X(旧Twitter) 『rays_co』で検索してね
•ONLINE STORE(アパレル)
•Official LINE(ご予約、お問い合わせ)

※現在Googleマップ以外での地図アプリでは、正確な店舗位置が表示されませんので、必ずHPから所在地のご確認をお願い致します!

#tattoo #tattoos #ink #inked #tattooed #tattooartist
#portraittattoos

【ドットのポートレートタトゥー】とりあえず今日はここまで!
淡いアウトラインを引ききったら終わろうかと思っていたのですが、コンディションも良かったので7部仕上げくらいまで進めちゃいました😆
最終的には両腕フルスリーブ&フルチェストの予定です💡
背景にアカンサスやローズ、スモークで飾っていきたいと思っています😄

【Inks used】
・Dark Shading★
・Medium Shading
・Light Shading
・Extra Shading
・Ray’s White

【Needles used】
・1203RL

by Daniel Ray Brewster

▶︎公式HPや各種SNSへは、プロフィール欄記載のリンクツリーからどうぞ!

▶︎京都スタジオ @tattoostudiorays

▶︎東京スタジオ @tattoorays.tokyo

▶︎ONLINE STORE @tattoo.rays

▶︎Check the link in the profile‼️
•TATTOO official site (公式HP)
•YouTube (番組配信してます!)
•X(旧Twitter) 『rays_co』で検索してね
•ONLINE STORE(アパレル)
•Official LINE(ご予約、お問い合わせ)

※現在Googleマップ以外での地図アプリでは、正確な店舗位置が表示されませんので、必ずHPから所在地のご確認をお願い致します!

#tattoo #tattoos #ink #inked #tattooed #tattooartist
#portraittattoos
...

ではでは今からやっちゃいます🔥

by Daniel Ray Brewster

▶︎公式HPや各種SNSへは、プロフィール欄記載のリンクツリーからどうぞ!

▶︎京都スタジオ @tattoostudiorays

▶︎東京スタジオ @tattoorays.tokyo

▶︎ONLINE STORE @tattoo.rays

▶︎Check the link in the profile‼️
•TATTOO official site (公式HP)
•YouTube (番組配信してます!)
•X(旧Twitter) 『rays_co』で検索してね
•ONLINE STORE(アパレル)
•Official LINE(ご予約、お問い合わせ)

※現在Googleマップ以外での地図アプリでは、正確な店舗位置が表示されませんので、必ずHPから所在地のご確認をお願い致します!

#stencil #tattoo #portrait

ではでは今からやっちゃいます🔥

by Daniel Ray Brewster

▶︎公式HPや各種SNSへは、プロフィール欄記載のリンクツリーからどうぞ!

▶︎京都スタジオ @tattoostudiorays

▶︎東京スタジオ @tattoorays.tokyo

▶︎ONLINE STORE @tattoo.rays

▶︎Check the link in the profile‼️
•TATTOO official site (公式HP)
•YouTube (番組配信してます!)
•X(旧Twitter) 『rays_co』で検索してね
•ONLINE STORE(アパレル)
•Official LINE(ご予約、お問い合わせ)

※現在Googleマップ以外での地図アプリでは、正確な店舗位置が表示されませんので、必ずHPから所在地のご確認をお願い致します!

#stencil #tattoo #portrait
...

スタジオの桜が咲いてる!
葉桜なりかけてるけど!笑
久々に花見したいな〜😄

#桜 #タトゥースタジオ

スタジオの桜が咲いてる!
葉桜なりかけてるけど!笑
久々に花見したいな〜😄

#桜 #タトゥースタジオ
...