Traditional Japanese tattoo work by Gareth Sones

Japanese tattooing,
made with integrity.

Tattoos rooted in tradition, thoughtfully composed for your body and made to last a lifetime.

Located in Braunton, North Devon and Ashburton, near Exeter

01 — The difference

So much more than just a tattoo design.

Traditional Japanese dragon bodysuit shown from two rear angles

Whether you are drawn to a design simply because you love the way it looks, because it holds a deeper meaning, or because you identify with a character and their story, every tattoo is approached with the same care.

From a small one-point tattoo to a complete Japanese bodysuit, each piece is conceived as a composition that suits the natural structure of your body. Every element is consciously placed with meaning and intention.

Designing a tattoo in this way calls for time, trust and careful planning. My aim is to collaborate with you, listen to your ideas and understand what draws you to Japanese tattooing (Horimono).

From there, I will guide your idea towards something authentic and personal—made with integrity and designed to age with you over a lifetime.

02 — What shapes the work

Every choice has a relationship to the whole.

Japanese woodblock triptych depicting tattooed figures

Subject, season and setting

The process begins by discovering the main subject you are drawn to and where it will live on your body. A koi, dragon or other central image will often influence the kind of background, atmosphere and seasonal elements that belong around it.

In Japanese art, flowers help communicate the season: cherry blossom suggests spring, peony belongs to late spring or early summer, while chrysanthemum and maple leaves evoke autumn. These relationships are important, although there are nuances and nothing is treated as an unbreakable rule.

The background and flowers are every bit as important as the main subject. Together, they create the world or realm in which that subject exists.

These relationships become particularly important when planning a sleeve, full backpiece or bodysuit. A composition surrounded and unified by background elements is known as gakubori. The background frames the principal imagery and connects the separate elements into a complete piece.

A Japanese tattoo can also be created without this surrounding background. This is known as nukibori, where the main subject stands independently against the natural skin.

03 — A living tradition

Rooted in history. Made for the person.

Japanese tattooing was not created as a decorative style. Its visual language was shaped over centuries by folklore, spirituality, woodblock printing and the lives of the people who wore it—from Edo-period firefighters and labourers to the master tattooers who preserved the tradition through prohibition and social stigma.

The imagery we recognise today was developed through this history. Heroes, deities, animals, flowers and backgrounds were never simply chosen for their appearance; together, they formed complete compositions carrying stories of protection, courage, identity and belonging.

Understanding this lineage gives my work a stronger foundation. It allows me to approach Japanese tattooing with greater care and respect while creating something personal for the individual wearing it.

04 — The process

From the first idea
to the finished tattoo.

01

Your idea

We will begin with a consultation in person, or by video call if you live further away. This gives us an opportunity to meet, discuss your ideas and make sure I am the right tattooer for you.

We will talk about your initial idea and where the tattoo will live on your body. Once we have established the principal subject—such as a koi, dragon, shishi or phoenix, for example—we can explore suitable pairings, seasonal flowers and the type of background that belongs around it.

When helpful, I will also show you books and Japanese woodblock prints that may offer further inspiration and help us find the right direction.

02

Booking your appointments

If you are happy with everything we have discussed, your questions have been answered and you would like to proceed, we can begin arranging your appointments.

For a larger project such as a sleeve, backpiece or bodysuit, I will ask you to place your first five appointments in the diary. A deposit will also be required, which is deducted from the cost of your final appointment.

This commitment gives the project the consistency and momentum needed for the work to develop properly.

03

Research and design

Once your first appointment has been booked, the design process can begin. When necessary, I will deepen my understanding of the stories, mythology and folklore surrounding your chosen subject.

My visual research begins with the ukiyo-e woodblock masters of the Edo period (1603–1868). Studying multiple prints helps me understand how the subject has traditionally been represented and the story the imagery is intended to convey.

Once the direction is clear, I begin drawing the composition over photographs of the area being tattooed. This is a thorough process that can involve many hours of research, reference and design.

04

Your first appointment

Your first appointment is when I will reveal the design to you. For a larger project such as a sleeve, backpiece or bodysuit, the main subject will be drawn and ready, with the background and flowers roughly planned over photographs of your body.

I will create a stencil for the principal subject and then draw the background directly onto your body. Working in this way allows me to respond to your individual anatomy and make sure the complete composition fits and flows naturally.

Once the stencil has been carefully positioned and the remaining elements drawn on, you will be able to see the complete placement in the mirror. If everything feels right and you are happy to proceed, the tattooing can begin.

Watch the full sleeve develop from the initial drawing to the finished tattoo.

05 — Is this right for you?

Is a Japanese tattoo right for me?

Large traditional Japanese dragon backpiece
Smaller traditional Japanese shishi tattoo

Simply put, if you love the appearance of Horimono—traditional Japanese tattooing—then it may be right for you.

Horimono is steeped in tradition, symbolism and meaning, but you do not need a profound personal connection to every image in order to appreciate it and get it tattooed on your body. Being drawn to this style purely because of its beauty is reason enough, and I am equally happy to work with clients who value the aesthetic rather than the symbolism behind every motif.

However, there are a few things worth considering before beginning:

01

Commitment

A large-scale Japanese tattoo is a considerable commitment. You are investing not only your hard-earned money, but also your time and your willingness to sit through the discomfort required to complete the work.

02

Consistency

Before beginning, I recommend making sure you are financially prepared and able to commit wholeheartedly to the number of appointments your tattoo will require.

For the best progress, I normally recommend leaving between two and four weeks between appointments. Life will occasionally get in the way, and rearranging a session when necessary is completely understandable. What matters is maintaining consistency and avoiding long, unnecessary breaks that allow the project to lose momentum.

03

Collaboration

A project of this nature is a collaborative process. I am always happy to listen to your ideas and understand what you are drawn to, while offering guidance where it will help create a stronger and more cohesive tattoo.

You do not need to arrive with everything decided. An initial idea and an openness to the process are enough.

04

A traditional approach

My work remains rooted in traditional Japanese tattooing wherever possible. I do not create realistic Japanese, new-school or other modern interpretations of the style.

I also try to respect the relationships between subjects, backgrounds, flowers and seasons, using combinations that traditionally belong together wherever appropriate. These principles give the work its structure and integrity, while still leaving room to create something personal for you.

06 — My approach

Twenty-two years of tattooing. A lifetime of learning.

Gareth Sones tattooing at Eightfold Tattoo

Some of my earliest memories of tattooing go back to the early 1990s. My dad was a taxi driver, and the firm's office was below a tattoo shop. The owner would let me spend time in the studio after school while I waited for my dad to finish his shift. From those early days, I was captivated by tattoos and the culture surrounding them.

My fascination with Japanese tattooing began when I discovered the work of Filip Leu in an early issue of Tattoo Energy magazine. I would attempt to imitate his dragons—badly at the time—but seeing those large-scale compositions made something immediately clear to me: one day, I wanted to create large-scale Japanese tattoos.

Read more about my approach

For the first ten years of my career, my work was primarily black-and-grey realism. During that time, I was fortunate to work in some of the UK's most respected tattoo shops, including Cult Classic Tattoo and Into You in London, surrounded by extremely accomplished Japanese tattooers.

Horimono had always been my first love, so I spent those years quietly watching, listening and absorbing as much as I could. When my wife Stef and I decided to leave London and open our own studio, Eightfold Tattoo, I made the decision to devote my work primarily to Japanese tattooing and the culture surrounding it.

What continues to fascinate me most is the depth of Horimono—its history, imagery and countless nuances. The subjects found within Japanese tattooing also exist throughout Japanese art, mythology, folklore and everyday culture. As someone outside of that culture, I understand that there will always be limitations to what I can fully comprehend. Rather than discouraging me, that creates a lifetime of discovery. The more I learn and respectfully understand, the more deeply committed I become.

I continue developing my visual knowledge by studying the pioneers of Horimono: how they construct a tattoo, organise a bodysuit and allow a composition to move across the body. I also closely examine the ukiyo-e woodblock prints of artists such as Kyōsai, Hokusai and Kuniyoshi.

To better understand the stories behind the imagery, I seek out translated Japanese folklore, historical material, trusted tattoo publications and Japanese scholarly papers available in English. I also learn through conversations with friends whose knowledge extends beyond my own. My approach continues to evolve because every new piece of knowledge changes the way I see and construct a tattoo.

The relationship I build with each client is equally important. Large projects can bring us together regularly over several years, so the process must be founded on mutual trust and respect. I want every client to feel proud of their finished tattoo and confident that it was created by someone who cared deeply about the piece they will carry for the rest of their life.

At Eightfold Tattoo, Stef and I are committed to creating a calm, relaxed and professional environment without ego. My commitment to Horimono and the culture surrounding it is lifelong, and it is a responsibility I take very seriously.

07 — Common questions

FAQ

Do I need to know exactly what I want?

No. All you need is a rough idea of what you would like, and I can help guide you from there. Any references from my portfolio—or other images that help communicate what you have in mind—are ideal. It can sometimes be difficult to explain a visual idea in words, so references are always welcome.

Can you tell me exactly how long my tattoo will take?

For a single-session tattoo, I can usually give you a fairly accurate estimate. With larger-scale work, it is much harder to predict an exact completion time. As a rough guide, a half sleeve and chest panel (gobu-sode to hikae) takes around 20 hours, while a full sleeve generally takes around 30–35 hours. This varies depending on the subject, background and level of detail—a dragon sleeve, for example, will usually take longer than a koi sleeve.

Do I need a consultation?

For smaller projects, a consultation is not always necessary. For larger-scale work, I will always ask to arrange one. This can take place in person or by video call if you are travelling from further away.

Can you help me choose a Japanese subject with the right meaning?

Yes. If you know you want a Japanese tattoo but are unsure of the exact subject, we can explore ideas during your consultation. You might begin by telling me what you would like the tattoo to convey. From there, I can suggest imagery connected to that feeling, quality or story and begin developing the idea with you.

Does my tattoo have to have a meaning?

Definitely not. Being drawn to a tattoo purely for its appearance is enough. Horimono is rich in symbolism and meaning, but you do not need a deep personal connection to the imagery in order to appreciate it or wear it.

Can I begin with one tattoo and extend it into a sleeve or larger composition later?

Absolutely. We can begin with the principal subject—such as a dragon or koi—without a surrounding background. This approach is known as nukibori. The tattoo can remain complete as it is, or a background and further elements can be added later to develop it into a sleeve or larger composition.

How frequently should tattoo sessions be booked?

Most of my clients book one full-day session each month until the project is complete. Some prefer three-hour sessions every two weeks, while others book three hours once a month, although this can make a large project take considerably longer. We can discuss the most suitable schedule for you and the project during your consultation.

Will I see the design before my appointment?

I do not send designs out before the day of your appointment. You will see the design when you arrive, and I am happy to make any necessary changes with you before we begin tattooing.

Where can I book an appointment?

Appointments are available at Eightfold Tattoo in Braunton, North Devon, and Stay True Tattoo in Ashburton, near Exeter. We can discuss which studio works best for you during your consultation.

How should I prepare for a long tattoo session?

Get a good night's sleep and drink plenty of water the day before. Eat a substantial breakfast one or two hours before your appointment. If you are booked for a full day, bring lunch, snacks and something to drink so that you can keep your energy up throughout the session.

Appointments in North & South Devon

If this approach feels right to you,
use the link below to arrange a consultation.

Choose the studio that works best for you.

Eightfold Tattoo

Braunton, North Devon

Stay True Tattoo

Ashburton, near Exeter