Traveling ’Kintaro Kite Project’ exhibit kicks-off in Paris In 2011 Kintaro Publishing emerged as independent publisher of art books and high quality prints and has become a platform for creative talents. Because there is an increasing interest in the art forms that we represent, we have initiated the #KintaroKiteProject where a select group of artists express their creativity and vision on a Japanese kite by making a unique piece. The official opening of this traveling exhibition will be held at Le Mondial du Tatouage March 3, 4, 5th 2017 - Grande Halle de la Villette, Paris. Next tour dates: The International London Tattoo Convention International Brussels Tattoo Convention Adam Kitamoto Rico Daruma Matthieu K Leu Mick Tattoo Adam Kitamoto-Australia Alvaro Llorar-Spain Bill Canales-USA Chris Garver-USA Claudia de Sabe-UK Dan Sinnes-Luxembourg Filip Leu-Switzerland Genziana-Italy Hide Ichibay-Japan Horiyoshi III-Japan Ivan Szazi-Brazil Jeroen Franken-Netherlands Junii-USA Junior Goussain-Brazil Kiku-USA Kim-Anh-Netherlands Len Leye-Belgium Luke Atkinson-Germany Marco Rossettini-Italy Marco Serio-Netherlands Marius Meyer-Norway Matthieu K Leu-Switserland Mick Tattoo-Switserland Nico Cennamo-Switserland Pino Cafaro-Germany Rico Daruma-Japan Salvio-Italy Sandor Jordan-Germany Shane Tan-Singapore Shuryu-Japan Tattoo Lobo-Italy Vlady Positivevibrations-Italy Yoni Zilber-USA Yushi Takei-Japan Yutaro-UK
I could be on Netflix enjoying a late night movie now but no, some guy who runs a publication company in Netherlands decides to invade my privacy and forcefully demand that I reveal my painting techniques. Well, to be honest, there’s no special or secret technique I use. Anyone reading this is going to be disappointed. So to satisfy the needs of my long distance stalker, I’ve decided to do a write up of my “techniques” or the lack of it. First off, my theme is and will always be the Japanese style. Of course some of the historical or mythical subjects that I paint can be traced back to ancient China. Some even have Hindu roots. But I try to lean toward the Japanese interpretation. It’s very challenging as a non-Japanese to attempt painting in this style but I love the challenge. I’m highly influenced by masters like Kuniyoshi, Kunisada, Kano Hogai, Hokusai, Kyosai and Kuniteru who is my current favorite. He did a handful of prints with very dark background and they are just so perfect for tattoo designs. I’ve tattooed for 16 years and painted for about 3 or 4 years, so my painting is somehow influenced by my tattooing. Weirdly, the more I paint, the less I want to tattoo. Being a novice painter, I’m still very much in my learning stages so please forgive my ignorance. Blame André for having bad taste and asking me to write this. So lets begin, I want to get back to my Netflix as soon as I can. There are the media I use: Liquid Watercolour (Dr ph martins Hydrus and Pebeo Colorex) Copic markers Talens Indian Ink Powdered pigments with a water colour binding medium Liquid Acrylic (for outlines when I work with Copic) Daler Rowney mixed media paper 250g (for copic) Saunders HP 300g, 100% cotton, water colour paper I bought a set of powdered pigments in Kyoto and I’ve been trying to mix up some diluted earth tones. There’s a lot you can do with the density when you mix your own pigments. My wife got me this easel for one of my birthdays and we eventually got a white tabletop from Ikea and drilled it onto the easel. There wasn’t a ready-made drawing table that I liked so we decided to be DIY about it and fix up our own. And now, half of you are probably falling asleep and the other half have decided to read on hoping to discover something valuable enough to tell your kids about. I will continue writing because I’m very determined to finish this tonight and continue with my movie watching. My painting process has a few steps. I usually sketch out the idea with a red pencil, or a light colored marker on any paper that’s lying around. Usually the papers that are within reach without me standing up, gets used first. 9 out of 10 times, I start my drawings on printer paper, even if I’ve just bought an expensive drawing pad, its still the f”cking printer paper that I end up using. I hate drawing on it because it’s too smooth and it screeches against the pencil sometimes. Yeah my paper screeches. What does yours do? My ideas come from books, images I’ve collected on my travels and of course the deadly Internet. These days, a lot of my research comes from the Internet, I’m a bit ashamed. But I’ve got a library of books that I’ve collected over the years and I always refer back to them. Even with the convenience of Google, these books are an essential part of my design brainstorming. Now back to sketching. Once I figured out what I want to paint, the first skeleton sketch gets done in about an hour or two, very rough and messy. And then I follow up with a second layer with a darker marker or a 4b pencil and refine the details a little bit. This is usually drawn on an A4 or A3 copier paper. The screechy ones. And then the third layer is finalized on a tracing paper, and I throw in some fabric patterns and finer details. So that’s 3 layers of the same image. By now I’ve come up with the final lines for everything except the background. Sometimes I use another sheet of tracing paper and work on the background. Once I’m done, I blow it up with a printer to the size I want, use a light box and trace the design on to the watercolour or mixed media paper. I work a lot with a copier/printer to size up or down my images between the different layers of sketches. If I’m using copic markers, I’ll trace the lines from my sketch onto the mixed media paper using a grey pen first, fill in all the colours and then do the same lines over again towards the end so it overlaps everything else. For water colour, I just line it once in dark grey or black in the beginning and I paint around and over it. Usually the colours don’t cloud the lines because I line with talens indian ink and it doesn’t wash off with water colour but I’ve experienced a bit of bleeding when I use copic over indian ink, even if I let the indian ink dry out for a few days. I don’t sketch directly onto the watercolour paper because I have shitty skills at sketching and I’m constantly making mistakes so I don’t want to stain the actual paper too much with eraser marks and pencil indentation. I like working with layers because I can improve and refine my design with each layer. Besides, I don’t usually have many deadlines for painting, so I take my time with everything. I know a lot of artists who can spontaneously sketch stuff without preparation and paint it right away without making any amendments but I’m not that fortunate. I’m a slow learner and make too many mistakes so I take twice the time in creating designs, slow but careful. People ask me what happens when u make a mistake? What method of recovery is there? There's one method and it works every single time. Look closely at your stupid mistake, take a deep breath, curse in whatever language suits u best, quickly tear the damn paper up and start again. I think I've thrown away more paintings than I've collected. My wife freaks out all the time. She sees a half completed painting, starts appreciating it and the next morning it's gone because I got careless and made an unwanted splatter of some shit. These days she warns me not to destroy anything. Why do I switch between Copic and Watercolour? Well, I’m trying to learn new techniques. With watercolour and a thin brush, I can achieve fine line precision but copic usually comes with a thicker brush tip and there is always the problem of bleeding and overflow. I don’t know the exact term for when your ink flows more than desired and spreads out of the intended area, so I’m using the word “overflow”. I can change the Copic brush tip to a smaller one but it’s never thin enough. I’ve learned to deal with this “overflow phenomena” of copic by emptying or drying it out a little, before I work on detailed areas or thin lines. It’s a waste of ink, I know. But with a half empty Copic, I get a better chance at keeping all the ink where I want it. Half of what I paint is from memory or imagination and the other half is based on a lot of reference. I never really copy directly but I do follow certain Ukiyo-e masterpieces closely. I have the utmost respect for the old masters and I try to learn from studying and understanding their style. I recreate Ukiyo-e masterpieces and try to add a touch of my own. I believe that before creating something original, I need to attain enough knowledge and experience through practice. It’s just like playing music. Most bands start out by covering songs before making an original track. This applies to many other art forms as well. Everybody works differently, so it’s very important for me to discover what my capabilities are and how hard I need to push myself. Still reading? Well then, lets carry on. I’ve been exploring watercolour a bit more recently. Copic is very consistent and it gives intensity and impact to my designs because of the vibrant colours but there are times when I want to achieve a slightly more vintage look and with watercolours, the liquid ink form, I can really get that effect by diluting it with water or any dull tones. ( Eg. Sepia and turtle dove grey ) The overall product becomes a lot more softer than Copic. The slightest change in ink density can create a totally different effect. Copic conveniently comes in many different ready to use shades but with watercolour, I can mix up my own blend. Its time consuming and I complain about it all the time but I love creating my own cocktail of colours. In fact, over the last coupe of months, I’ve collected a few bottles of watered down earth tones that are ready to use. I guess my goal has always been to understand my media better. For some reason, there’s always a new way of doing things. Each painting teaches me something and each mistake reveals a new path. I will never stop learning because when one thinks he knows all, he knows nothing. The eagerness to learn gives me strength and motivation. For me, this is just the beginning of my journey and I’m grateful for this opportunity to share a glimpse of it with you. I hope you’ve enjoyed reading this because it has cost me a lot of my Netflix time. I’ll end this with a quote I wrote… “Paint not with your mind or your hands but with your heart. For the heart gives life to all creativity. “ -Shane
We’ve launched a set of limited edition serigraph prints by Filip Leu, of The Leu Family's Family Iron. These set of prints are extremely limited, making this an opportunity to own some unique and rare pieces by one of the best tattoo artist in the world. About the Artist Swiss Artist Filip Leu is without question one of the most influential tattoo artist of the modern era. The flow of his large-scale Asian inspired compositions have had a truly global impact, combined with his humble nature has given him a very special place in the development of tattooing. This also guaranties that any new work by Filip is eagerly awaited and gratefully received by artists and collectors alike. About the Prints For this project Filip has collaborated with Kintaro Publishing and created three brand new India ink paintings, which have been painstakingly reproduced by Master Printer Peter Verbruggen. The ‘skull’ is the chosen theme for the three screen prints, and is one of the images within tattooing that Filip has constantly revisited, explored and drawn inspiration from. These timeless images only confirm his mastery of this iconic subject and the understanding he has of it. Each print has a limited run of 50 copies only done on 56 cm x 76 cm 300gsm paper, and are of the highest possible quality. Click here to visit the artist page
The Hannya Mask is without a doubt one of the most iconic images within Japanese tattooing. The Mask itself was originally used predominantly within Noh Theater (classical Japanese musical drama) and is one of 450 masks used to help tell the often-supernatural tales. It said it represents a women so consumed by her jalousie that she transforms into a demon, but the mask itself has always been a way of portraying a myriad of emotions. ‘The Daily Hannya’ is the result of a challenge Belgium tattoo Artist Len Leye set himself in 2014. The idea was to complete a Hannya mask design a day, every day for 365 days. Len achieved his goal, and the results speak for themselves. He has taken the spirit of the Hannya and run wild with it. The book starts with more traditional Hannya’s as you might expect, but after a while as Len himself say’s “Things started to go a little crazy! It’s not easy drawing the same subject every day in a different way. After a while you go a bit mental.” The daily discipline of working with a single subject gives an artist a deeper understanding of it and over time the freedom to reinterpreted and sometimes even reinvent it. “The Hannya was the first thing I did when I got out of bed every morning. I didn’t sketch it out first; I always went directly with the brush straight into the book. Some times time did not always turn out the way that I might have wanted, but that's how life is.” The results of this fascinating project is one artists exploration of what the Hannya can be, and in turn has created a must have reference book.
As a way to save money we’re introducing books combo. Books combo are the best way to get what you want at a 15% discount!
SHIPPING OPTIONS To make Tattoo Art even more accessible to everyone, we created the possibility to choose between different shipping options. When ordering a product from our webshop, you now can choose between economy or registered post. Registered post will include an order tracking information. If you opted to receive your shipment by economy post, track and trace is not available. Therefore economy shipping is a cheaper solution. It is totally up to you whether you like to follow your package! H x L x W Besides the option to track your order or use economy shipping, our check-out system does now recognize different items. It will automatically choose the cheapest solution for your order, mailbox or regular parcel package. This can and will save you some money. QUALITY Although the shipping costs are now more efficient, we at Kintaro Publishing still take great care of your products while packing and preparing for shipping. So no need to worry, your items will be protected the best way possible in all cases as always. PRINTS Prints with a maximum size of 38 x 26.5 cm have the option to ship as mailbox package as well. Use the dropdown menu in order to select you desired size.
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At Jailbreak Festival.
Wytse at the entrance of Jailbreak. Wytse was born in Sneek 39 years ago. He lived in this city till his 18th. In his student days, he crafted lots of denim jackets and skate board decks for friends and classmates. Then he moved to Groningen to study at the Art academy. He wanted to pursue an education in art so he could discover himself. But once he was studying, it immediately became a goal in itself. Wytse had a great desire to prove himself. “The moment I started the education, I knew that this was exactly what I wanted to do. If I wanted to achieve my goals, then I really needed to have the courage to set high standards. So that's what I did and still do.” Wytse comes from a family with great interest in science. He has two younger brothers. One is working in the ICT sector and the other is a Doctor in Science and teaches mathematics at university. His father practiced the profession of tax consultant and his mother has been a kindergarten teacher and later she studied theology. “I think I got my creative side from my mother, she loves literature and my brothers and me often did handicrafts with her. Both my parents and my brothers support me in my work and I'm very thankful for that." Wytse has lived in Leeuwarden since 7 years. As an illustrative designer, he prefers working with thick lines and bright colors so that he delivers clear and powerful pieces of art. When he designs a poster for a band, he listens to their music and searches for stories about the band members. He likes to design pieces for clients. This way, he does not only have guidelines, but also benefits from the communication with the customer, which is something he appreciates. “I like to get feedback from clients. That way, I can improve myself over and over again. Occasionally, I also suffer from a designer’s block. When this happens, I force myself to get some fresh air, like going out for a walk.” Wytse has learned that there is a great deal more to designing in practice than you would initially think. It's not just drawing. In addition to working together, there are commitments involved as well as deadlines and stress fields. Wytse is a single father of an eleven-year-old son and a nine-year-old daughter . “I turned single recently. Fortunately, I'm very busy and so I can easily clear my mind. I am glad that I can be a part of the organisation of the Jailbreak Festival again. This event was born from a passion for tattoos, music and quality. It is a meeting place for like-minded people. Here I also have the launch of my first book which I'm really proud of.” Wytse tried tattooing some time back in the days, but he prefers to design art on paper. He found it a little bit too enervating to place something so permanent on a person's body. He is capable of designing tattoos for others, but he believes it's better to let the real tattoo artists draw the tattoos. "I think a tattoo artist feels best how to design a tattoo. You're working on human skin and not on paper, this requires a different method. I am not in a position to do so. Additionally, I don't want to stand in the way of their creativity." - Sophie Lodewijks
His new book will be launched tomorrow at Jailbreak Festival.
Jeroen was born in Terneuzen. He had a great childhood with his two elder sisters on his parents’ farm in the small village of Driewegen. They lived self-sufficient with vegetables from their own garden, milk from their own cow and meat from their own sheep. Jeroen has always been an adventurous type. Even as a very young child, he already knew that he wanted to see the world. At that time, he was not averse to some occasional mischief . One day, Jeroen was playing in the farm basement, when he found a folded A4 sheet with old English lettering. He was extremely excited with this find and he immediately felt a sort of obsession. When his grandparents were married for 25 years, he asked his father for a wooden board. He wanted to draw his congratulations for his grandparents on it. This was also his first lesson of spacing. Jeroen was 10 years old. "My grandmother liked the board so much that she had that sign on her dresser until she died. I don't know where it is right now." Around the age of 14, Jeroen lived in the Middle East, in Qatar. Around that time, he burnt the initials of his French girlfriend on his body with heated screwdrivers. He also loved to paint clothes and shoes. "If a friend had new shoes, he’d come straight to me to ask whether I could draw something cool on them. They really liked what I drew and I did so with great pleasure." Jeroen was always interested in drawing. "I was obsessed with finger paints and crayons and I never stopped drawing. Then it was mostly in colour but now it's more black and white." He has only one tattoo in colour; a beer mug . This one was done years ago at four in the morning. Ryan, a fellow of the Charlie Cartwright shop in Modesto (USA), where Jeroen worked at the time. Jeroen tattooed Ryan that night and vice versa."We were drunk and the guys from the shop wanted to tattoo each other. While Ryan was throwing up in a dustbin, I tattooed the mug. The funny thing about the whole story is that I actually do not even like beer anymore these days", smiles Jeroen. Jeroen travelled a lot. Especially to get to know new cultures. “I always knew that I wanted to see the world. If I'm in a place, I prefer to stay there for a while, so I really get to know the way of life. It's nice to see that the less people have, the more respectful their behaviour is." At the age of 25, he made his first tattoo and at 27 he officially started tattooing. He started out with the Borneo style in particular. He is guided by his sense. "I try to feel what a customer is looking for as much as possible. A customer does not really need to say a lot. The more a customer says, the more the flow of sense is blocked." Jeroen made this drawing in 1995. The first time he came back to the Netherlands from Borneo. He got a reverse culture shock . "I thought we lived in a crazy place. It was too busy, stressful and people yelling everywhere. Everyone is so hyper about nothing. In the commune in Borneo, there was a friendly atmosphere." However he loves it, Jeroen thinks he is a not the kind of person to function in a commune. "In such a clan, everything is very solid . You have to do this, you have to do that. If not, the gods will cast a spell on you and that will damage the community. I can't just accept everything as the truth. When everybody looks to the right, I tell people that they need to look the other way, too before they can draw a conclusion. There are always two sides to a story." His new book is now available. Tomorrow it will be launched at Jailbreak Festival. - Sophie Lodewijks
Jeroen Franken has worked as a tattoo artist for more than 17 years and has travelled around the world multiple times to get a better understanding of ethnic tribal tattoos, and of course to master the craft to perfection himself in his artwork and tattoo designs. The first tattoo Jeroen ever made was in the jungles of Borneo while he was doing research on the tattoos of the Iban, the biggest ethnic tribe in Sarawak. Kintaro Publishing is presenting a compilation counting 288 pages of Jeroen Franken’s artwork and tattoo designs from the past 14 years, showing masterful traditional images of mostly Iban and Borneo designs, but also of Marquesan, Pacific and Maori work. The book will in addition also contain photographs of some of the most detailed tattoos Jeroen has done on his customers.