T e La guage of

TATTOOS
130 Sy bol W at T ey Mea

Oliver Mu de Nick Sc o berger

 Co te t

I troductio

C apter 1
Lo e

C apter 2
Fait an Spiritua ity

C apter 3
Protection an Gui ance

C apter 4
Transformation

C apter 5
Luc

C apter 6
Strengt

C apter 7
Desire

C apter 8
Resi ience

C apter 9
Loss, Memory an Transience

I dex
 I troductio

It is not possible to discuss the language of tattoos without first

acknowledging appropriation. Many of the images that represent and
inform what we generally accept as standard in tattooing have been
taken from a diverse range of places and cultures and granted new life
as adornments for the body.
The rapid rise of popular print during the 19th century created a wealth of
material ranging from dynamic visual interpretations of popular Christian
hymns to the robust graphic language of Victorian funeral tradition. In swift
turn, such images became motifs for tattoos and, over time, their tattoo forms
became more widely recognized than the original designs. Images derived
from military insignia, nation building, brand building, the thrills of the
carnival, the blur of the locomotive era, the allure of Hollywood and the
power of fast fashion enjoyed a similar fate.
Of course, this is the exciting thing about the language of tattoos. Pictures
traverse time and environment, layering tones from prior generations with
those of new generations to create an ever-deepening shared culture. The
varied, and sometimes conflicting, channels for some images reflect the truly
multifaceted flow of information – and of visual culture – that is seen on
countless pages, web browsers, bodies and more.
A second acknowledgement within the context of this book, is that the
images described fall within a particular history of tattooing, specifically, the
European/North American tradition. It is in this tradition that tattooing is at
once an art and a craft, but also a codified business complete with an
intoxicating mythology and the vibrant scene that prevails today.
A long-standing interconnection between American, European and
Japanese tattoo traditions realizes another subset of tattooing’s language.
American and European tattooists have drawn inspiration from Japanese
aesthetic and craft ever since the opening of Japan to the West in the 1850s.
Despite this reverence, the studied relationship between mythology,
woodblock print (ukiyo-e) and body-focused composition that informs
Japanese tattooing is juxtaposed with remnants of artistic liberty taken with
pan-Asian aesthetic.
Polarities of the academic and the base underly a tension inherent to the
language of tattoos, at once a celebratory amalgam of global influences and a
painful reminder of brazen cultural theft. This notion stands in a third subset
of tattooing, the fine-line style. Emerging from predominantly Chicano
communities in Southern California, the style now enjoys worldwide
demand. Aside from the look, which produces a glorious textural depth via
subtle black-to-skin gradation, the style helped popularize a series of images
now synonymous with contemporary tattooing. Furthermore, it is imbued with
cultural codes and informs a certain cool.
When Oliver Munden began his career, the three dominant tattoo styles of
fine line, Irezumi (traditional Japanese tattooing) and western traditional had
become firmly rooted as choices for anyone stepping inside a studio, shop or
parlour. It is with these styles, appropriated slowly into the widening tattoo
business, that today’s language of tattoos finds its core. In the early 20th
century, it would not be uncommon to see an image of a dragon sharing wall
(and body) space with the venerable Rock of Ages. This, and the fact that an
image derived from a Japanese tradition might accompany one swiped from a
short-lived lithographic phenomenon demonstrates brilliantly how tattooing’s
vocabulary takes, evolves and standardizes. Today, these stalwarts sit among
many hundreds of other symbols committed to the cannon.
In cataloguing the symbols for this book, we are indebted to generations
of tattooists who have passed images across cities and decades, documented
on bodies and in books. Some of their names are noted in the descriptions
that follow, particularly those with historic ‘flash’ origins, for ‘flash’ sheets
(pages covered with tattoo designs) help determine when a symbol first
became a popular tattoo.
The 130 symbols, depicted in fine line, western traditional and Japanese
styles offer a snapshot of tattoo choice and tattoo history. Each became an
element of the language at a particular moment in time and carries with it an
aesthetic and cultural origin. With that, each also holds a specificity and
power that helps us find the perfect way to tell our own individual tales.
After all, the true story of any tattoo is claimed when the history of both the
design and the wearer meet.
 1

LOVE
T e ack owledge e t of love i , per ap , t e true t t e e i oder tattooi g.
T at aid, t e di clo ure of t e e ti e t ru t e ga ut – fro overt
declaratio to ubtle atte tatio – wit o e’ c oice of y bol reflecti g
co fide ce i o e e d of t e pectru or t e ot er. A d, aturally, give t e
breadt of ro a tic feeli g, t ere are cou tle way to co e orate u io .
So e of t e be t-k ow love tattoo are ba ed i t e we ter traditio al
tyle. A i ple a e, alo e or i ba er, i al o t a clic é – played up by
Nor a Rockwell’ 1944 pai ti g, Tattoo Artist. A eart fe too ed wit a
a eplate ba er a ti ele appeal, w ile t e yt ological figure, Cupid,
freque tly take ce tre tage i tattoo co po itio relayi g love. Flora a d
fau a al o provide cou tle ource for i piratio a d i clude t e cra e, t e
ro e, t e tulip a d ore.
T e breadt of y bol tied to love allow for diver e tyli tic co ideratio .
We ter traditio al, a oted, erve for bold, direct di clo ure. More preci e
y bol are beautifully articulated i black a d grey or co te porary Japa e e
tyle . Regardle of re deri g, love-t e ed tattoo carry u waveri g clarity of
ea i g for t e wearer.
 C erub

Not to be confused with Christian cherubim, which are assigned several

different roles, the figure detailed here references desire, lust and love.
Stemming from ancient Greek and Roman mythology (as Eros in Greek and
Cupid, son of Venus, in Roman), the character often appears as a winged
child or young man, with bow and arrow.
This image has persisted for centuries, exploited by everyone from
Renaissance painters to opportunistic greeting-card companies. By the
1900s, the image of Cupid benefited from the widespread adoption of
Valentine’s Day as a holiday. While ancient forms were, at times, moderately
mischievous (spreading lust with little regard for the consequences), the
later, more secular visions of the boy helped express ideas of love or
togetherness.
As a tattoo, the cupid serves a variety of styles, including black and grey
(as seen here) and western traditional. The former promises an elegant
rendering, while the latter allows easy incorporation with a variety of
associated love symbols – heart, rose and more.
 Dove

Positivity abounds in tattoo designs anchored by doves. The bird, with its
broad mythological associations (from Aztec to ancient Greek), represents
enduring love and peace. Many tattoos featuring the dove are connected to
Christian ritual, with the bird appearing in faith-based spaces since the 200s
CE.
Doves appear in depictions of the Father, the Son and the Holy Spirit,
and in images of the Annunciation. Biblical reference also connects the bird
to the story of Noah’s Ark, where a dove brings Noah an olive branch
marking the end of the storms and floods.
Purity of spirit and a deep compassionate love also permeate symbolism
relating to the dove. In this, the historic connections amalgamate in universal
feeling, making the dove an appropriate choice for anyone wishing to
venerate familial relationships, a deep bond or lifelong commitment.
 Parrot

Cast aside any preconceptions that a parrot must be linked to a pirate.

Instead, this bird’s symbolism conveys deep devotion and endearing love.
The meaning derives from inarguable characteristics of the species: parrots
are affectionate and empathetic. These traits make the birds terrific
companions, as they build tight bonds complete with demonstrative displays
of devotion.
In tattooing, the association between parrots and love is most common.
Depicted singly, a parrot serves as a beautiful reminder of companionship.
Paired with a heart in the background, twin parrots overtly relay strength of
relationship and perseverance.
Stylistically, parrots are adaptable. One can choose anything from
western traditional to hyperrealistic depiction. The natural breadth of colour
also allows for innumerable choices in composition.
 Cra e

When associated with love, the crane stands for fidelity – specifically a long,
loyal marriage. The birds themselves are monogamous, initiating long-term
breeding pairings that can last a lifetime.
In the broader context, the crane carries associations with happiness,
good fortune, peace and longevity. The crane is a common motif in Japanese
art, finding expression in many disciplines from Edo-period woodblock
prints to Irezumi (traditional Japanese tattooing). The symbol is also deeply
tied to traditions of origami, where legend suggests wishes are granted to
anyone who folds one thousand cranes.
 Heart

Pierced by arrow or dagger, adorned with nameplate banner, or broken

through the middle, traditional heart tattoos relay the full emotional scope of
love.
The now familiar scallop-topped heart shape emerged during the 13th
century, appearing as a heraldic symbol and standardized through repetition
in various manuscripts (including a collection of Danish love ballads) and on
playing cards through the 15th and 16th centuries. In the 19th century, popular
use of the symbol exploded, naturally tied to revolutions in mass printing.
The heart’s association with romance, love, lust and heartbreak became
ubiquitous. The rise of the heart symbol in tattooing coincided with this
uptick in popular use – tied as the modernization of the trade was to the
burgeoning visual culture of the late 1800s. The 1995 exhibition, ‘Pierced
Hearts and True Love: A Century of Drawing for Tattoos’, held at The
Drawing Center in New York, showed just how widely recognized the heart
has become as a tattoo icon.
In articulation, the heart tattoo can serve several purposes: pierced with
an arrow, it signals the wearer is love-struck; ripped through, the heart shares
pain; stabbed with a dagger, and betrayal rings clear. With the soft addition
of a name in-banner, there’s declaration of pure affection. All of these
options offer a certain simplicity: while love is complicated, illustrating its
nuances is relatively straightforward.
 Cryi g Heart

In the mid-20th century, few American tattooists were as influential as Bert

Grimm. A central figure of The Pike, an amusement centre in Long Beach,
California, he helped to progress the western traditional style with his
instinct for adding emotional character to his designs.
Among the symbols attributed to Grimm, the crying (or weeping) heart is
one of the most iconic. It conveys love lost and heartbreak. In its figuring,
there are clear connections to cartoon animation styles that gained
prominence in the 1930s. Of course, it has much in common with other heart-
related tattoos (think pierced heart or prisoner of love), adding a new layer
of meaning to a tried-and-true icon.
Today, Grimm’s design is applied in myriad variation. Most commonly,
the shifts are subtle, manifesting as an homage to mid-century tattooing.
 Cla ped Ha d

The communicative power of hands clasped together defines several tattoos.

There is, of course, the ubiquity of the prayer hands. Equally symbolic is the
handshake, an image with a variety of subtle meanings but always rooted in
bond, love and fraternity.
The roots of the design are centuries old. It features heavily in jewellery
– for example, in the fedé and gimmel symbol (derived from the idea of
hands in faith) used to finish the loop of a ring. Rings featuring the symbol
were popular from 200 BCE onwards, serving to commemorate both betrothal
and friendship. Adoption of such symbols in tattooing gained force during the
19th century.
By the early 20th century most Western tattoo flash books contained a
range of intersected hands with distinct details. Those extending to the cuffs
flanking the hands give each a clear gender designation – denoting
engagement or marriage. Sometimes, a finger might even be decorated with a
ring of its own. Other articulations find the hands paired with national
symbols. In the United States, for example, designs featuring a flag or eagle
link to military tattooing traditions. The varied application of the clasped, or
shaking, hands design allows for personal tweaks and makes it a popular
addition to many traditional-style tattoos today.
 Ha ya Ma k

Recognizable for its sharp, bull-like horns, the hannya mask is employed in
Japanese Noh theatre to represent a jealous female demon. The character
arises from a dramatic event: being spurned by a lover. Distraught, the
rejected woman – overwhelmed by hurt, sadness and even rage – becomes a
demon.
While this origin can give the hannya mask a frightening appearance, its
meanings vary. Hannya means ‘wisdom’, and in terms of love this definition
allows the mask to be read as a reminder to keep clear judgement in a
relationship. The strength of passion behind the mask’s origin also allows
conveyance of an ‘all-or-nothing’ attitude to love. The symbol also serves as
a shield to ward off evil and is thus considered lucky.
The depth of meaning makes the hannya mask both a complicated symbol
and the perfect choice for those who wish to embrace the intense emotional
range of love.
 Ro e

Roses are an almost perfect tattoo subject. The flower itself grows in more
than 150 distinct species and thousands of hybrids, each forming a unique
shape and dimension to bloom and petals. As a symbol, the rose also holds
true as a document of immortal love, through its association with the ancient
Greek goddess, Aphrodite. From the goddess’s tears and the blood of
Adonis, her gorged lover, a rose bush grew – and from this myth, centuries of
connection between love and the flower blossomed, too.
One will, of course, find roses within Shakespearean quotes and
Victorian codes. Across the gamut, roses embody love in all its harsh
varieties. Just as there are myriad types in nature, so the rose tattoo can take
endless forms. Western traditional style privileges bold reds. The flowers’
undulating blooms make them particularly suited to black and grey renditions,
allowing exploration of volume through contrasting light and shadow. Simple
black articulations also sharply convey the flowers’ power. Such versatility
will no doubt assure that the rose remains a popular subject for tattoos for
centuries to come.
 Love Letter

Like the prisoner of love, the love letter tattoo draws on the Victorian
decorative arts tradition. The disembodied hand, conveyed here as a soft,
feminine form, holds a heart-emblazoned envelope, a banner prepared to
carry the name of its recipient. Tattoos like this came into favour in the 21st
century, influenced by renewed interest in Victorian print culture.
Letter-writing itself was in vogue during the late 19th century. In fact,
there were numerous guidebooks advising suitors on appropriate phasing and
composition. These encompassed strict proclamations of love, as well as
more tactful modes of initiating courtship. Naturally, hands and printed matter
came together in a variety of media, too.
The love letter tattoo simultaneously embodies the quaint peculiarities of
a bygone era. Its elements – hand, banner, letter – all serve the western
traditional style well. And its meaning, while unique enough to the wearer,
also reads as clearly as it would have done more than 100 years ago.
 Pri o er of Love

A design that suits a range of western traditional articulations, the prisoner of

love comprises a hand shackled and chained to a heart. Belief in love, or
reflection on the strength of a romantic entanglement, is inherent to the
symbol’s meaning. However, the visual elements also offer some intriguing
connection to a fascination with disembodied hands that arose during the
Victorian era. At the time, hands were considered conduits of deep meaning
– from idealized gender to emblems of status, from lust to support for social
justice. This led to a vast array of artistic hand motifs in everything from
glasswork to sign painting.
In the early 21st century, tattoo trends saw a rise in whimsical
compositions influenced by Victorian sign-painting and print culture. As
such, disembodied hands asserted a fresh, contemporary graphic sensibility
in the western traditional style. And, as seen here, the stylizing of the hand
can underscore the grip of love.
 Butterfly Girl

Undoubtedly beautiful, compositions including a female head backed with

butterfly wings gained popularity in the 1940s. From American Bert Grimm
to the Englishman Rich Mingins (and more), the design is featured on extant
flash sheets of the period and has been reborn and reworked by countless
tattoo artists since that time. The design’s meaning relies on association with
beauty, joy and eternal love.
 2

FAITH AND SPIRITUALITY

Declaratio of fait a d pirituality take everal for i tattooi g. Notably,
t ere are preci e replicatio of vi ual otif fro C ri tia culture, uc a t e
Sacred Heart a d t e I aculate Heart, a well a direct refere ce to Budd i t
a d Hi du traditio . I additio , t ere are y bol t at ay o ce ave ad
pecific religiou overto e , but ow ave uc wider i terpretatio – t e
prayi g a d are a good exa ple of t i .
T e e ploy e t of religiou ico ograp y a a lo g i tory i tattooi g.
Royal pilgri age to Jeru ale i t e 19t ce tury led to everal Briti pri ce
taki g tattoo to ark t e eve t, a wa t e traditio . A d a tattooi g a
ta dardized over t e year , e ble of fait a d pirituality ave erved a
outward celebratio of co u ity, but al o a tate e t of a per o al, ofte
i ter al, jour ey.
A wit ot er t e atic electio i t e book, t e followi g y bol reflect
cultural origi t roug tyli tic a ociatio . However, everal of t e y bol
are adaptable betwee fi e li e a d we ter traditio al.
 Je u

Designed with a crown of thorns, a reminder of the pain faced on the cross,
the popular head of Jesus tattoo gained popularity in the early 20th century.
Christian imagery was already rooting in the 19th century, connected to an
ever-broadening funeral culture and articulating ritual ranging from the
celebration of birth to the mourning of a loved one.
Early use of the head of Jesus introduced a more universal sense of
protection that continues to this day. A sailor, for example, might carry the
image to ward off the threat of drowning. Meanwhile, those more closely
connected to their faith may employ the icon as protection from general
hardship.
 Our Lady of Guadalupe

Deeply rooted in both Mexican and Mexican–American identity, tattoos

featuring Our Lady of Guadalupe draw on religious iconography for their
composition. However, the image, also rich in societal symbolism, conveys
protection and guidance.
Our Lady of Guadalupe is deeply rooted in Mexican religious life and
nationalism, and has been since the 1530s, when she appeared to Juan Diego
and rose as patron saint. Her image dots the Mexican landscape, where a
network of shrines has spread countrywide in her name over the centuries. In
1810, she was held up as patroness for Miguel Hidalgo y Costilla’s rebellion
against the Spanish, and later, during the religious revival of the 19th century,
she was heralded for uniting people in common devotion. Images of the
Virgin were displayed on banners carried by Emiliano Zapata’s peasant
rebels during the Mexican Revolution of 1910–1920 and again during the
Cristero Rebellion, which lasted from 1926–1929. In the 1970s, her image
was again evoked, this time by American civil rights activist Cesar Chavez,
linking her to 20th-century social justice reform.
 Prayi g Ha d

Tattooing has a beautiful and cross-generational relationship with art history,

and the famous praying hands design remains one of the most tangible
examples of this.
The composition derives from a 1508 sketch by German artist Albrecht
Dürer, an exploratory study for an altarpiece for a church in Frankfurt.
Hundreds of years later, Dürer’s work, a depiction of his own brother’s
hands, resonates not only for its ubiquity – it’s one of the most famous images
in popular culture – but also its universality. While ties to Catholic
symbolism, such as the rosary, are common in composition, alone the praying
hands embody a non-denominational piety.
For those purely inspired by art history, added meaning builds from
association to Andy Warhol. The pop art icon reworked Dürer’s sketch
during his career, and it decorates his tombstone in Pittsburg, Pennsylvania.
 W eel of D ar a

Symbolic of reincarnation, the wheel of dharma originates in the Hindu faith

and is characterized by its eight distinct spokes (more precisely, the
Eightfold Path). While the eight-spoke wheel is most common, the wheel may
also have four (each reflecting one of the four noble truths), 10, 12, 24 or 31
spokes, depending on specific Buddhist teachings.
The wheel has three distinct parts: the circular rim, the hub and the
spokes. The circle conveys perfection of the dharma, its centre a reminder of
the stability that comes with practising Buddhism.
Wheel of dharma tattoos are often prepared as guidance to healing and
setting intention for a new path.
 Sacred Heart

The Sacred Heart benefits from an unflinchingly powerful composition. The

piercing knife, surrounding thorns and burning flame demonstrate the power
of divine love. It is both a symbol of devotion and a reminder of redemption.
As an image, the Sacred Heart emerged during the 18th century and spread
throughout the 19th century, eventually launching into the tattoo vernacular
from popular prints.
 Ga e a

One of the best-known Hindu deities, Ganesha is easily identifiable by his

striking elephant head. Images of the figure have circulated since the sixth
century. While depictions vary, most deliver a few common characteristics,
including a protruding belly, four arms, a broken tusk and a third eye at the
forehead.
Ganesha identifies as bringing luck and removing obstacles. The figure’s
characteristics correspond to unwaveringly positive qualities such as being
able to think big, discard bad thoughts, retain positive force and peacefully
absorb the good in the world. As such, Ganesha is associated with intellect,
particularly in connection to the arts and sciences. Ganesha is also
interconnected to the Hindu mantra Om and, at times, to the muladhara (first
chakra), as a guide to the wheel of life.
 Budd a

The iconic image of Buddha, seated in a lotus position, with open-palmed

hands in lap, entered the public imagination centuries after Siddhartha
Gautama himself died in the 4th century BCE. It was not until the 1st century CE
that this now familiar image appeared, bestowing human form to Buddha – a
reflection, in some respects, of the cultural mingling spurred by trade along
the great Silk Road.
Sitting in a meditative pose, or depicted in face alone, the physical form
of Buddha is rendered in tattooing in much the same ways as it is in art
history: some articulations have a round belly, others are of smaller build;
some convey a jolly demeanour, while others have a more serious
disposition. These stylistic differences reflect Buddhism in its different
forms – inclusive of Theravada, Mahayana and Shakyamuni.
As a tattoo, an image of the Buddha, at its most basic level, reflects the
path to enlightenment. It is suited to black and grey, or fine line, rendered
both simply and ornately. But, like many tattoos sharing ideas of faith and
spirituality, the Buddha is often a choice of fashion or trend rather than one of
religious conviction.
 I aculate Heart

Similar in tone to the Sacred Heart, the Immaculate Heart commemorates the
virtues of Mary, Mother of God. The symbol conveys her joys and sorrows,
as well as her compassion and love for mankind. Within the composition, the
heart is often adorned with roses and pierced with a sword. As with the
Sacred Heart, the Immaculate Heart was absorbed into tattoo culture through
the blooming of religious print culture during the 19th century.
 Celtic Cro

Emerging in the British Isles during the post-Roman era (roughly 600 to 900
CE), the Celtic cross combines Christian and pagan symbolism (a common
conceit during transitional to formalized religion). Its composition thus
incorporates the Latin cross with an interlacing of knots, spirals and other
circular patters from the centre across the arms and stem. These patterns
reference compassion and knowledge in understanding life’s journey.
Popularity of the Celtic cross in tattooing and, as a more abstract design,
the Celtic knot, evolved from nascent neo-tribal styles established in the late
1960s and 1970s on the American West Coast to become a standard of both
contemporary blackwork and traditional styles. Associated designs convey
heritage (often Irish), but also the spiritual associations of eternal life and
everlasting bonds. Additionally, the choice of knot – trinity, spiral, triskele –
can add depth of meaning. For example, the triskele, associates with earth,
water and sky, while the trinity speaks to Catholicism and the centrality of the
father, son and Holy Spirit.
 Devil

Consideration of the devil in tattooing is broad. Some feature in

compositions that pit a femme fatale (or angel) against the dark lord. Others
bend his face into an almost clown-like visage (as in the work of British
legend George Burchett), putting a Western spin on Japanese oni masks.
Regardless of look, the transmission is clear: protection from evil.
There’s also a whimsical link with the devil and mischief. This is best
articulated through playful reinterpretation of Kewpie, an invention of
commerical illustrator Rose O’Neill, which became fodder for the likes of
Percy Waters, Milton Zeis, Lyle Tuttle, among others during the 20th century.
O’Neill’s initial drawings were comic depictions of cupid. Flipping the tone,
but keeping the fun, turning Kewpie into the devil created an icon of playful
hell-raising.
 Kappa

One of the most common, and frightening, yōkai (Japanese folkloric goblin)
in tattooing, the kappa (river child) has a humanoid shape and scaly skin. The
mythical creature lives, naturally, in rivers where it aims to devour any child
who strays near the banks. Despite this outwardly aggressive behaviour, the
kappa is also known to be exceedingly polite. This quirk reflects a
fundamental need to balance feelings of subservience and power. Thus, the
kappa serves symbolically as a reminder of life’s duality.
 Saru

The Japanese monkey, or saru, is commonly represented in tattooing as a noh

mask. As a character, the monkey is noted for its charisma (it can be a little
trickster), and within performances it served as comic relief. Yet, a more
powerful association comes from a spiritual association with Shinto and
Buddhist tradition. The saru is a reminder to tame distraction and follow
divine teaching.
 Raiji

The Japanese god of thunder and lightning, Raijin is recognizable for his
reddish skin and a three-fingered hand. Raijin is depicted surrounded by
drums, which he bangs with mallets during a storm – three bursts at a time –
to create thunder. Association with rain makes Raijin an important god in
relation to the assurance of an abundance of crops.
 Fuji

Notable for horns on his head and clawed hands and feet, Fujin is the Shinto
god of wind. He wears a leopard pelt and, in his bag, carries the winds,
which according to his story were let out to create the space between heaven
and earth. This in turn, allowed the sun to shine. Despite some positives,
association with Fujin is largely cautionary as his winds are mostly known to
cause harm.
 Broke C ai

Tattoos of a broken chain convey a simple, but powerful message: an

unshackling from a negative force. It serves as a very clear visual
representation of strength of inner will and a triumph over a dark period of
life.
 Stag

In several traditions, including Buddhism and Celtic lore, the stag is

celebrated for spiritual regeneration and authority. The animal is viewed as a
messenger and problem solver, guiding people away from traps. For
Christians, the behaviour of stags (for example, helping one another to cross
a river), represents the idea that members of a community should support
each other.
 3

PROTECTION AND GUIDANCE

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a fourt fro t e appropriatio of profe io al y bol ( uc a t e caduceu ).
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atte tio fro a egative circu ta ce to a po itive outlook. Ot er y bol ,
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a e p a i o i toric a ociatio .
 Nautical Star

Nautical star tattoos relate to the North Star as a navigational guide at sea. A
symbol of protection and guidance, the nautical star became rooted in tattoo
culture through the seafaring community – particularly those enlisted in the
coast guard, marines or navy – and has blossomed as a western traditional
icon since the mid-19th century.
Various forms of the nautical star have been employed by tattooers (both
on skin and in flash books). Honolulu-based, Sailor Jerry (born Norman
Collins), regarded as the master of 20th-century American tattooing, famously
produced the nautical star in red and black, five or six pointed, or in the
shape of the compass rose. The design reflects a desire to stay on course and,
predominantly, free of danger, while wider interpretations suggest self-
determination. Through veneration of Jerry in the 2000s, the star gained
renewed popularity, further diversifying its integration within the
contemporary tattoo vocabulary, but always remaining tightly connected to
the spirit of its original usage.
 S ark

A shark tattoo was said to protect a sailor from danger. The association
connects to Polynesian and Hawaiian reverence for the shark as family’s
aumakua (guardian and protector).
Western traditional tattoos give the shark a one-dimensional, almost
cartoonish, character. Examples include the famous Sailor Jerry version,
which depicts the shark in a ‘sailor’s grave’ design – playfully toying with
all the inherent fears presented in a life at sea. Contemporary designs are
more varied. While some elaborate on the Jerry-style composition, the alpha
predator of the ocean is also beautifully rendered in black and grey. Of
course, Polynesian tatau designs are also among the most visually arresting.
 Co pa

Like the nautical star (see here), compass tattoos emerge from the maritime
tradition to reflect a sense of wanderlust. Symbolic of guidance and good
fortune, the compass serves travellers of all types, as well as dreamers.
Though the compass was invented in Han dynasty China, the common
compass in tattoo culture derives from the maps of early modern Europe,
which begat the compass rose – a multipoint star used to display the cardinal
directions of the wind. The dynamism of the compass rose, with its star-
shaped centre, allows for depth and deviation of composition. Meanwhile,
the positioning of the arrows against north, east, south and west allows for
individualized meaning.
 Ro e of No-Ma ’ La d

Arising from the atrocities of World War I, the rose of no-man’s land
embodies courage and compassion. The design embodies an image of the
type of Red Cross nurse who would have supported wounded soldiers in no-
man’s land – the unoccupied area between opposing trenches. It is one of the
finest examples of an otherwise ephemeral image gaining immortality in
tattooing.
Though coined by soldiers, the rose of no-man’s land moniker was
cemented in popular culture through song. Leo Feist recorded a version of the
song ‘la rose sous les boulets’ in 1918 and an English version by Boston-
based songwriters Jack Caddigan and James Alexander Brennan followed.
Sheet music for the latter, published in 1918 by Jack Mendelsohn Music,
features an image of a nurse’s head settled within a rose – a vision that
certainly inspired the composition of the now famous tattoo.
 Rock of Age

Written in 1763 by Reformed Anglican minister Augustus Toplady, the hymn

‘Rock of Ages’ was inspired by the author having taken refuge from a storm
in Burrington Combe limestone gorge, in Somerset, England. The lyrics
reflect a religious shift – from Calvinism to Methodist – and celebrate
salvation.
More than 100 years after the hymn was written, the ‘rock of ages’ found
visual form through a painting by Johannes Oertel, Saved, Or an Emblematic
Representation of the Christian Faith. Oertel’s dramatic depiction,
complete with crashing waves surrounding a single female figure gripping to
a stone cross, was reproduced as the Rock of Ages, and proliferated quickly
in a variety of print forms (including versions distributed by the successful
New York printmakers, Currier and Ives) through the 1870s and beyond.
The image, like others featured in popular Victorian-era religious prints,
almost immediately gained popularity within tattooing, particularly in the
works of 19th-century New York pioneer Samuel O’Reilly. Since that time
the ‘rock of ages’ design has continued to intrigue artists and clients alike,
continually evolving, while communicating the protective aura of the original
painting.
 S ip’ W eel

Meanings attributed to ship’s wheel tattoos derive from functional

interpretation – the wheel itself defining direction. Nautical association
grants the wheel a practical and nostalgic connotation; the wheel worn both
by those commemorating a particular position at sea and those relishing the
graphic sensibility of the western traditional style.
For the latter, a wheel represents clarity of purpose. It becomes a
metaphor for life, relaying a sense of control or certainty of path despite
inevitable rough patches. As with other nautically inspired symbols, the
wheel can be paired with other icons in composition, such as an anchor, to
strengthen the message. Additionally, one might add a banner or surrounding
text to underscore intent.
 All- eei g Eye

Commonly read as God’s omnipresent eye, the all-seeing eye design often
follows from the Eye of Providence. Here, the eye is enclosed in a triangle,
with light rays emanating from behind. The image itself is omnipresent, too,
having been adopted as an American symbol in the early republic. Earlier
renditions of the image – and, in fact its origin – come from ancient Egypt,
the Eye of Horus, and depictions steadily spread around the world from the
16th through to the 18th centuries.
Of course, the idea of omniscience features in many belief systems and
religions, making the all-seeing eye an incredibly adaptable symbol (and one
of flexible interpretation). As a tattoo, one may choose the Eye of Providence
or the Eye of Horus. But through choice of style – neo-traditional, black and
grey, dotwork and more – an allowance for unique articulations also
emerges. Thus, whether you lean to historic accuracy or surrealist aesthetics,
there’s likely an all-seeing eye design for you.
 O i

An oni is a Japanese folkloric demon, initially viewed as symbolizing a

tormented soul. These evil elements were to be driven out of the home as
part of the Setsubun festival, marking the change from winter to spring.
During the festival, roasted soybeans are thrown out the front door or at a
family member wearing an oni mask.
Oni are also symbols that themselves can ward off bad luck and evil
spirits. The oni mask typically exaggerates features – bulging eyes, horns,
toothy mouth. Naturally, the look is moderately to very intimidating,
underscoring its associations with torment and evil.
 Scorpio

Scorpion tattoos communicate protection and control. Like the black widow,
another poisonous insect, the scorpion also suggests a sexual charge.
The Egyptian goddess Serket, a woman with a scorpion crown, was
closely associated with predynastic rulers – as protector and healer –
Scorpion I and Scorpion II. It was believed she could ward off the effects of
venomous bites . . . and deploy scorpions to punish those who fell foul of her
wards. Her role as guardian extends to tales of Isis, Horus and Ra, as well as
of the canopic jars that were used during mummification.
As a tattoo, the arachnid lends itself to a variety of styles, including
black and grey and western traditional.
 Lig t ou e

Symbols of strength abound in maritime culture. One of the motifs most

readily rendered as a tattoo, a lighthouse illuminates spiritual associations
with hope and safety. Of course, the lighthouse structure is built to withstand
storms and to protect ships from disaster.
In design, the lighthouse takes the focal point – as a beacon it attracts
attention and reminds the viewer of the vitality of the building’s function.
While there are centuries of artistic depictions of the lighthouse (as a
building type it was birthed in the 5th century BCE), lighthouse tattoos take
their own inspiration. In the western traditional style, the composition is
sometimes augmented with banners and other nautical symbols. Black-and-
grey, blackwork and dotwork styles also lend themselves to lighthouse
tattoos.
 A c or

Anchor tattoos have adorned bodies for well over 150 years. Symbolic of
hope, safety and security, the image’s meaning doesn’t deviate much from the
object’s function. However, there are subtleties to the design that imbue
individual nuances, including the addition of lettered banners or specific
national flags.
For mariners, an anchor tattoo marks the crossing of the Atlantic. A
fouled anchor, which is entwined with rope or chain, has held naval
associations since first appearing in 1402 within the Scottish navy and was
quickly adopted throughout the British services and later the American navy,
too.
 Caduceu

A funny thing happened on the way to the caduceus becoming a stand-in for
the medical field: the symbol of Hermes was mildly confused with the Rod
of Asclepius. The latter belongs to the Greek god of healing, while the
former is associated with the messenger god. Differences are stark – a single
snake versus a double snake – but today, due to adoption in the 20th century
by the US Army Medical Corps, both articulations convey a spirit of
protection.
Building around the staff, the caduceus design is naturally balanced.
However, the image need not be staid. Individual articulations (ranging from
angels to daggers) allow for a shift in the central element, and can help
convey more personal protections and other professional peculiarities.
 Baku

The supernatural baku are famed for eating nightmares. They are protectors
of sleep, arriving in Japanese mythology from Chinese origins in the 14th
century. In Irezumi, baku stand alongside dragon, kirin and foo dog among the
most popular mythological monsters.
The creature itself, a chimera, draws characteristics from elephants
(trunk and tusks are evident in pre-Meiji woodblock prints) and other
animals, including the tiger and the ox. In articulation, baku often resemble a
tapir. However, there is space for quite a lot of individual choice in the
depiction, including coloration, horn shape and location and associative
elements (such as maple leaves or lightning).
 Peacock

Go back to ancient Egypt or Rome, and images of peacocks are easily found
in relation to wealth and funeral tradition. Through the Middle Ages, the bird
decorated Roman catacombs, symbolizing resurrection and renewal. The
birds are associated with watchfulness and protection – particularly in
connection to royalty.
And while the peacock has been depicted in art for millennia, it was
through the Aesthetic Movement of the 19th century that it became a defining
symbol of beauty – particularly in view of the male’s stunning feathers. This
consideration was affirmed in the Art Nouveau era, with the peacock again
emphasized for its exquisite grace.
 4

TRANSFORMATION
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y bol t at co vey a o e t of tra for atio derive fro idea co ected
to rebirt . T ey pre e t life a a cycle, privilegi g opti i a d allowi g a
oot pa i g to t e future.
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Celtic traditio a d Haida yt ology, a o g ot er . It al o ig lig t t e
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de ig pio eered by t e lege dary Bert Gri . T e e two y bol re i d u
t at, w ile de ig are ofte appropriated or adopted by tattoo culture, o e are
truly u ique to t eir origi ator .
 Clow

While there exists a wide variety of clown tattoo designs, within the western
traditional style meaning derives from a tragicomic portrayal defined by
19th-century circus performers. Often with oversized features and
exaggerating emotions such as happiness and sadness, worn on the body,
these clowns convey a certain happy-go-luckiness and a tongue-in-cheek
approach to life’s challenges.
 Butterfly

Butterfly tattoos have been popular for well over a century. Cap Coleman,
the famed early-20th-century tattooist from Norfolk, Virginia, decorated the
left shoulder of an advertising figurine with a butterfly sometime between
1910 and 1920, and by mid-century, butterflies were near ubiquitous on flash
sheets throughout the United States.
As a symbol, the butterfly most commonly represents change, hope and
metamorphosis. In sailor’s lore, the butterfly carries a negative connotation –
to see one before setting off is considered an omen for death – but it is the
transformative associations that are most pervasive. While history within the
western traditional style has led to myriad bold butterfly designs, the symbol
rings just as true rendered in sharp, black linework.
 Mot

As with the butterfly, the moth represents metamorphosis. In subtle contrast,

the nocturnal life of the moth links the insect to the dreamscape and even
death. Meaning is derived from these contrasts, the moth symbolizing
freedom to recognize danger and avoid corrupting forces. In a quest for
change, the moth becomes a perfect icon.
Additionally, the centrality of the moth in a variety of cultures, including
Christian tradition, Native American mythology and European folklore,
allows for a range of design considerations.
 S ake

While there are snake tattoos that stand for strength and power (the cobra) or
protection (the Japanese hebi), there are also snake tattoos (and figures such
as the ouroboros) that symbolize rebirth and continual renewal.
It is important to consider how a design represents the snake. Take, for
example, an image of a snake removing dead skin by sloughing. Through the
shedding, the snake readies itself for the future. For this reason, particular
snake tattoos are popular among people wishing to commemorate a moment
of rejuvenation.
 P oe ix

Phoenix tattoos represent transformation through several associations. The

first connects to the mythology of renewal and the cycle of life. This is the
bird rising from the ashes, a story spread from ancient Egypt to early modern
Europe, and beyond. It is a motif that serves cities, institutions and sports
teams wishing to represent rejuvenation following a tragedy (inclusive, of
course, of fire).
A second reading of the phoenix, or hou-ou, originates from the Japanese
Irezumi tradition. The design stems from ancient Chinese depictions and, as
with other popular Japanese tattoos entered the genre during the Edo period.
This form of phoenix symbolizes a balance of positive and negative change.
A further rendition, of a phoenix descending from heaven to earth, signals
peace; the opposite is conveyed in return. Balancing two phoenixes allows
for a yang-yang interpretation, reflecting the concept of a perpetual cycle.
 Su

Bert Grimm’s anthropomorphic sun stands as one of the great 20th-century

designs in the western traditional style. Over his career, which began in the
1910s and stretched into the 1960s, Grimm diligently stripped down classic
icons and helped create a unique new aesthetic. With the sun, Grimm
incorporated a brilliant grin, offering sharp optimism for a new day, moment
or period of life.
 Moo

Like his sun design, Grimm’s anthropomorphic moon, complete with

sorrowful frown, gives a comic appeal to a transformative moment. Often
tattooed in tandem with the sun (for example, on the backs of hands or tops of
feet), the moon supports an honouring of the duality of life: good and bad;
dark and light; masculine and feminine energy. Inherent to the juxtaposition,
too, is the acknowledgement of a transformative cycle.
 Lotu

As a Buddhist symbol, the lotus represents purity and enlightenment. The

flower is celebrated as much for its stunning bloom as for the circumstance
of its growth. It comes from mud, rooting underwater and bursting out in
glorious, dramatic fashion. This makes the lotus a popular symbol for human
transformation from a tough stage of life, often one mired in materiality, to
one of greater freedom.
 Owl

Though the owl has no fixed symbolism – it can represent everything from
death to wisdom – contemporary associations often relate to signal change.
These present the owl as guide, a subtle shift of position as psychopomp (in
some traditions the owl escorts the soul to the afterlife), from one space to
another.
As designs, owl tattoos tend to be very adaptable. They render well in
fine line or western traditional styles, and allow for both faithful
representation and fanciful colouring.
 Frog

The frog has been used as a symbol of rejuvenation since ancient Egyptian
times. The goddess of water, Heqet, was depicted with a frog-like head, and
frogs had associations with rain and rain ritual. Within Christian tradition,
the frog is associated with the life, death and rebirth of Christ. More abstract
readings see the frog as a good omen for positive change and personal
transition. Thus, frogs are often personified in tattoos (artist, boxer, and so
on) and take playful shapes in a variety of compositions.
 5

LUCK
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tattoo w e pre e ted u i g brig t color a d bold li e . T u , a ealt y ix of
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allow for delicacy i li e. Above all, y bol of luck ig lig t a u iver al de ire
for good fortu e – w atever ape t at ay take.
 Dice

In traditional tattooing, a set of dice is a surrogate of luck – but with a twist,

for dice can also represent risk and vice as a stand-in for the gambler.
However, the dice tattoo allows these ideas great elasticity. The choice of
rolled number, whether snake eyes or lucky seven, runs the gamut of fortune
from loss to success. As such, dice are considered a metaphor for life.
Compositionally, dice can tie in nicely with other ‘lucky’ symbols, such
as the horseshoe (see here). A surround of flames adds an eye-catching
ornamental punch. Lady Luck, the black cat and other traditional favourites
are also easily incorporated into dice-focused tattoos.
 Uc ide o kozuc i

Uchide no kozuchi, the Japanese lucky hammer, or magic wishing mallet, has
origins in 12th-century folklore. While a variety of myths involve the hammer,
including stories related to the deity Daikoku (the god of wealth) or the Issun
Boshi (one-inch boy), each finds the mallet-wielding, wish-granting
character a central element. The term, uchide no kozuchi derives from the
idea that it shakes or strikes out whatever is desired.
As a tattoo, the uchide no kozuchi serves as a lucky charm and can be
rendered simply or ornately. It works well both as a standalone image and
incorporated into a more complex composition. The standard design for the
tattoo draws from its ubiquity within Japanese art and craft, where it can be
found as part of the popular iconography of Daikoku, singularly on textiles or
as a discrete charm.
 Lucky 13

Throughout the 20th century, tattoo iconography toyed with playful irony and
the lucky 13 exemplifies the period’s humour. Mocking superstition, the
symbol represents a certain joie de vivre, and augments a catalogue of
similar images that celebrate chance, fortune and possibility. Often the lucky
13 will feature on a spread deck of cards. Other times, it’s intertwined with
other lucky emblems, such as the horseshoe, or – for equally tongue-in-cheek
interplay – a black cat.
 Peo y

Coming to Japan from China during the Nara period (710–794), the blossoms
of the peony tree emerge in spring, along with those of the sakura. But while
cherry blossom symbolizes grace in transcience, the peony (botan) is a
potent reminder of the power of the emperor. Of course, some of this
association derives from the tree’s health benefits, so lending good fortune
and prosperity to the symbolism.
 Hor e oe

Luck, health and prosperity are meanings ascribed to the horseshoe. As a

symbol, the crescent shape has held power in popular imagination since
ancient Greece, where it was linked to the moon goddess Artemis, through to
the Celts, who believed it to be a talisman for keeping mischief-makers away
– an association reinforced in ancient England through the tale of St Dunstan.
Born in Somerset, Dunstan was a prominent monastic figure and leader
of the Anglican Communion during the 10th century. A famous interaction
between Dunstan and the devil established the horseshoe as a ubiquitous
symbol of luck. Working as a blacksmith, Dunstan nailed a horseshoe to the
devil, agreeing only to alleviate the pain, and remove the horseshoe, if the
devil agreed never to cross into a space in which a horseshoe hung at its
entrance.
This tale cemented the horseshoe as ward against evil and, more widely,
an object welcoming positive outcome. Hung facing up, the horseshoe
catches good will; meanwhile, a fisherman hangs it upside down so that luck
pours into his nets. This breadth of use is easily transferred to its application
as a tattoo – it’s adaptable to many styles, including fine line and western
traditional. Elements such as banners and flowers can be added to augment it.
Any choice speaks to belief in luck and an optimistic outlook.
 O a ori

Omamori are colourful amulets sold at Shinto shrines and Buddhist temples
across Japan. Translating as ‘protect’ or ‘protection’, an omamori most
commonly manifests as a brocade pouch. In general, omamori serve as good-
luck charms. There are several types, each connecting to a clear, identifiable
theme, such as success or happiness, good health or good fortune. More
specific versions might convey safety in travel or a healthy pregnancy. As
omamori are designed to be worn or carried, there is a natural transference
to tattooing.
 Ma eki-Neko

The beckoning cat, a maneki-neko, symbolizes good luck. As a figure, the

maneki-neko first appeared in the Edo period, in either Tokyo or Kyoto, and
it traditionally used to bring fortune to businesses and places of study.
Compositionally, several nuances of the maneki-neko pose are worthy of
consideration. A raised right paw attracts good fortune, while a raised left
paw attracts others to conduct business (one hand often holds a koban, or
oval coin, too) Closed eyes reflect short-term opportunity, while open eyes
reflect a deep optimism for future luck. Typically, the cats are coloured in
calico, but other colours may be employed to convey specific fortune (for
example, green for academic success or pink for romance). Tattoos of the
cats also allow for rather playful composition, as the maneki-neko is
adaptable to both a range of styles and the addition of additional symbols
representing love or luck.
 Fairy

There is a magical romance associated with the fairy. This being, often
winged, delicate and beautiful, features in Arabic, Arctic, Greek and Samoan
myth, but its name derives from European oral and written history. Less
attractive incarnations also exist – hobgoblins and the like. However, the
more sinister folkloric associations faded in the animated universe of the 20th
century and the contemporary fairy remains dainty, spritely, slightly
mischievous, but always, ultimately, in favour of a positive outcome. Tattoos
depicting fairies thus invariably celebrate luck and wishful thinking.
 Te i

Tennin are heavenly persons, male or female, celebrated within Japanese

Buddhism. In some respects, they are similar to angels or fairies. The figured
form of the Tennin draws most commonly on its female version, the beautiful
Tennyo, dressed in a flowing, ornate feathered kimono, called a hagoromo.
Common legends and folktales related to the Tennyo involve the theft of
the hagoromo by a human suitor. Unable to fly without the garment, the
Tennyo marry into the mortal world. Later, the indiscretion is revealed, the
hagoromo returned and the courtesan returns to the heavens.
Characteristics of grace, refinement and beauty define the Tennyo, and
these qualities are thus reflected in tattoo composition.
 Foo Dog

The foo dog, or shishi, originated in Han dynasty China. Its image, decidedly
neither feline nor canine, flourished via commissioned sculptures and
talismen, and was created to ward off evil. Commonly, these were placed in
pairs at the doors of palaces and temples. In Edo period Japan, they featured
in woodblock prints, becoming cultural icons.
Male and female foo dogs carry different meanings. The female, depicted
as a head alone, brings good luck to women in childbirth. This is based on
the legend of the foo dog’s own procreation: while it gave birth to 100 cubs,
only the toughest is allowed to live. A male foo dog combined with a ball
symbolizes power. Depicted together, a male and female symbolize the
external and internal – the male defends the structure, while the female
guards the dwelling – assuring that the tattoo itself serves as a protector of
mind, body and spirit.
 Ki gyo

Consider the kingyo (gold fish) the proletariat version of the koi. It may be
less regal, but it is no less potent in its association with abundance and
happiness.
 Toad

Toad tattoos are among those that symbolize wealth, success and good luck.
One of the symbols that reinforces this association is the greedy three-legged
Jin Chan, the feng shui money toad, known for its red eyes and flared nostrils.
Jin Chan sits atop a pile of coins and is known to invite prosperity. Further,
the toad represents long life and continued good fortune.
 Daru a

Common in Japanese culture since the 18th century, the daruma is a good-luck
charm modelled after Bodhidharma, the monk credited with founding Zen
Buddhism and Shaolin kung fu. Bodhidharma was famed for extreme
practices. For example, he gazed at a wall in meditative state for close to a
decade. During this time, he took no breaks and closed his eyes only once –
during the seventh year. He was so furious at this perceived lack of self-
discipline, that he sliced off his eyelids. This mutilation, combined with loss
of limb use from sustained sitting, inform the design of the daruma, complete
with big, doll eyes and distinct beard (shaped like a turtle) and eyebrows
(which reference cranes). Together, the elements of the daruma read as
tribute to longevity, and its lack of body speaks to the power of
perseverance, regardless of struggle.
 Oka e

The Shinto goddess of mirth, happiness and good fortune, jovial Okame is
easily identified by her large cheeks. She is also a popular female character
in Noh theatre, where she embodies long life and joy, particularly to
whomever she marries. In both art and theatre, Okame is commonly partnered
with the comedic Hyottoko.
 Hyottoko

Regular partner to Okame, Hyottoko derives from the Iwate prefecture myth
of a boy with a strange face who could conjure gold from his belly button. In
death ritual, the Hyottoko mask may be placed on a mantelpiece to bring
good fortune. In Noh theatre, the character serves as comic relief. With
puckered mouth, pushed to one side of the face, bushy eyebrows and
asymmetrical eyes (one squinted, one wide open), Hyottoko is easily
identified – especially when partnered with Okame.
 Spider’ Web

It is worth noting negative connotations with the spider’s web first:

associations with criminality, incarceration and even hate groups are well
rooted in the public imagination. However, the spider’s web is also
considered an omen of good luck.
Historically, there are numerous folktales featuring the spider web as a
symbol of abundance and protection. David, King of Israel, is said to have
been protected from King Saul by a spider’s web; a similar circumstance is
said to have saved the prophet Mohammed from his enemies.
The duality of the spider’s web – representative of both entanglement
and liberation – makes it a tough visual read. Yet, the beauty is in the context,
and opportunities abound to utilize the symbol as both a single design and a
connective tissue in a more complex piece.
 Ha a

One of many ancient symbols appropriated in tattooing, the ‘hand of the

goddess’ or ‘hand of Fatma’ welcomes positive energy and rejects negative
energy. As such, the hamsa predominately carries associations of luck.
Articulating the hamsa requires a simple choice: pointing up or down? Chose
up, and the symbol wards off evil. Opt for down, and the hand welcomes
goodness, including fertility.
Hamsa tattoos most commonly serve as protection against evil.
Compositionally, the image is recognizable for its symmetrical thumbs (going
downwards or outwards) and the ‘evil eye’ at the centre of the palm, which
deflects the evil energy of others. The earliest use of the hamsa dates to
artefacts associated with the Mesopotamian goddess Ishtar or Inanna. Over
the centuries, the symbol has been periodically employed within Islamic,
Jewish and Christian practice.
Given the sweeping adaptation of the symbol culturally, there is
widespread use in the tattoo world. Many pay respect to the symbol’s ancient
roots, but there are also deviations that incorporate modern iconography as
well.
 Ta uki

In Japanese lore, the tanuki, or raccoon dog, is considered as mischief-

maker. Since the 720s, depictions of the animal have shared tales of a
particular magic: shapeshifting, to animal, human or material form, and a
love of pranks.
Commonly, the trickery derives from a comic manipulation of the tanuki’s
testicles. Illustrations from the 19th century highlight this portion of tanuki
lore – testicles shaped as bowls, cloaks, drums, raincoats, weapons and
more abound. Contemporary articulations of the tanuki are derived from
Shigaraki, Japan, where ceramic figurines portraying the trickster god
became common in the mid-20th century.
Tanuki tattoos follow this popular portrayal in form and offer a jovial
way in which to symbolize wealth and prosperity. As such, the character and
belongings of an individual tanuki are important. If one holds a bottle of saki,
it is trustworthy. Exaggerated body parts hold different meanings, too. For
example, a tanuki with large scrotum conveys wealth; small eyes relay
amiability; and a big belly reflects boldness in decision-making.
 6

STRENGTH
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a y bol a t e capacity to co fro t a i ue t roug p y ical force. T e e are
t e i age t at co vey do i a ce, a culi ity, ta i a a d virility. Al o
a o g t e are y bol t at ugge t fe i i e power a d otio of lo gevity.
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of will a d devotio . Sy bol uc a t e ‘golde boy’ Ki taro, e body a i d-
over- atter tre gt – t e ki d w ere t e pirit fuel t e p y ical a d devotio
to a cau e co pel a per o to old t eir grou d. Of cour e, t i c aracteri tic
a a correlatio to re ilie ce, w ile ai tai i g a direct co ectio to force.
 Pa t er

Stamina, strength and virility are characteristics conveyed by a powerful and

striking panther tattoo. Compositionally, panther designs privilege a
masculine stance, either in full body or as a strong, open-jawed head.
The crawling panther tattoo, originated in the 1940s by William
Grimshaw and made famous in drawings by famed Milwaukee tattooist
Amund Dietzel, is an icon of mid-20th-century tattooing – best with stylized
claws articulated as if ripping into the flesh. In connection to art history, it
also has close ties to the Art Deco movement, which had a profound
influence on Dietzel, and while perhaps not commonly associated with
tattooing, surely influenced pronounced stylistic shifts in the practice.
 Drago

Ryu, the popular form Japanese dragon, is a remnant of Edo period

woodblock printing. The creature soars through the heavens, twists back to
Earth, all the while granting wishes. Notable, is that these creatures are not
singular, instead they form from a diverse body of myths that tie local
Japanese folklore to legends from across Asia. Stylistically, Ryu finds
commonality with the Chinese dragon, as a serpentine water diety without
wings.
As a tattoo, Ryu takes on different meanings depending on which variety
is depicted and the colours used. Importantly, the particular strength, physical
and mental, of each dragon grants distinct (and positive) benefit to people
encountered. Colourwise, red dragons are associated with power, blue with
forgiveness and gold with virtue.
Western dragons, more commonly winged, also symbolize strength, but
primarily in association with unstoppable forces (such as fire).
 Dia o d

Invincibility is the defining characteristic of a diamond, in direct correlation

to the gemstone’s physical properties, and is augmented by associations with
love, faith, power and strength. Diamonds have been prized for their
supernatural characteristics since discovery and have come to represent
fortitude in many traditions over the centuries – from Greek mythology to the
Buddhist sutra.
Associations with unbreakable love, and the adoption of diamond rings
in courtship, dates to the 15th century and the union of Maximilian I and Mary
of Burgundy in 1477.
The modern diamond trade began some 400 years later, reinforcing the
stone’s association with love, and rooting the practice of engagement rings.
Though De Beers began marketing the idea heavily in 1938, diamond rings
appeared upon clasped hands, celebrating betrothal, on some early 1900s
tattoo flash sheets.
Typical contemporary tattoos articulated a faceted stone in clear, strong
line work. While it is not uncommon to link diamonds with love, the majority
of the tattoos are an expression of strength – be it of conviction, peace or
will.
 Wolf

Wolf tattoos communicate positive associations with the animal at the heart
of much Native American mythology. There, it offers totemic guidance in
intelligence, endurance, self-reliance and loyalty. Revered as a skilled
hunter, the wolf finds its own path, suggesting qualities of courage and
strength. The formation of a pack, which can be sparked by an individual
quest to find a mate, correlates to contemporary ideas of family and further
supports the universal popularity of the image.
Traditional style wolf tattoos, carrying bold black lines and bright red
contrasts, are undeniably powerful. There is an inherent sense of strength,
drawn from both the animal itself and the style of articulation.
 Black Widow

The black widow represents strength and power. Most commonly,

associations with the black widow are ascribed to femininity and sexuality.
There is, of course, a pop cultural connection to the Marvel hero – a figure
who overcomes stereotypes to become an unbreakably positive force – a
reminder of the misunderstood nature of the arachnid. Tattoos depicting black
widow spiders thus communicate traits that might be considered negative, but
ultimately retain positive significance.
 Skull

While there is a darkness associated with skulls, inclusive of mortality, as

tattoos a skull communicates strength and protection. Wearers suggest
overcoming challenge, even death, and the opportunity for rebirth.
 P arao ’ Hor e

A stunning example of 19th-century visual culture finding expression in

tattooing, the pharaoh’s horses design conveys resolution and strength of
spirit.
The image, anchored by three Arabian horse heads, derives from a
popular print of an 1848 painting by English artist J.F. Herring. While there
is some debate as to the true origin of the composition (there is evidence that
Herring himself may have been inspired by an earlier painting), the spread of
the pharaoh’s horses from the mid-1800s into the early 20th century assured
its ubiquity in American popular culture. Familiarity with the image made it
perfect for large-scale back, chest and stomach coverage on the era’s famous
tattooed attractions, among them Gus Wagner. By the 1920s, the design
flowed freely within tattoo supply company catalogues (including those of
Percy Waters and Milton Zeis).
Details of the pharaoh’s horses design differ depending on articulation.
The image draws influences from illustrations of Moses drowning the
Egyptian army after parting the red sea. Commonly, the horses are pictured
with a floral garland. As in the 19th-century etchings, the equine heads may
also appear without further embellishment.
 Tiger

Inclusion of the tiger in Irezumi compositions delivers a few distinct

narratives. On the one hand, it may be placed in opposition to the dragon, a
representation of misfortune against that of good luck. Other designs position
the tiger among red peonies to represent full military power.
Another association connects the tiger to Buddhism. The animal is not
native to Japan. Instead, its introduction to the country came with the arrival
of religion from China. Within those views, the tiger represents an internal
wild side to be tamed in order to find focus and fulfilment.
 Eagle

On 20 June 1792, the United States welcomed the bald eagle to its Great
Seal. Though naturalistic in interpretation, the use of the bird referenced the
Roman Republic and gave a new vision to the strength and power of an
imperial symbol. The current form of the eagle in American iconography has
been in place since 1885, owing both to its ubiquity and the nationalistic
association it rooted to American traditional tattooing.
In compositions such as the ‘battle royale’, which merge Japanese and
western traditional styles, the struggle between occident and orient were
displayed through use of the eagle. Its power conveyed a regional strength.
Of course, some rationale for this usage stems from spiritual and
mythological associations between the eagle and the heavens, and with
dominance and freedom. Hierarchically, it is at the top of the animal chain. In
North American indigenous tradition, the eagle holds a special connection to
the Creator. Depictions of struggle between eagle and snake in Aztec
tradition represent a triumph of light over dark. And, within Greek
mythology, the eagle is a patron of Zeus. These associations all intersect with
the Roman, and thus modern, appropriation of eagle iconography as
expression of dominance, whether through heraldry or more contemporary
seals.
 Krake

The kraken is considered a terrifying sea monster. Squid-like in form, the

creature has origins in Norse mythology as a forceful disruptor to seafarers –
legend tells of the kraken’s powerful tentacles, capable of pulling ships to the
ocean floor.
Naturally, tattoos featuring the kraken play on the lore. The creature’s
strength is emphasized, along with its power. It is also a subject that, while
uncommon in traditional sailor flash, gives contemporary voice to the
associations of danger in the ocean, and taming them through absorption of
the image.
 Sa urai

Samurai tattoos convey courage, discipline and honour. Their meaning

derives as much from true history of the Japanese officer class as from
modern mythology around their practice; particularly in relation to the code
of honour (bushido) among them, which was established in the late 17th
century.
The rise of the samurai in the 10th century coincided with a period of
feudal rule in Japan’s Heian period. During this time, private armies were
raised to protect the landed nobility (daimyo). In the following era, the
Kakamura period, samurai followed emerging military dictators (shogun).
They were abolished at the end of the Edo period, in 1867.
Easily identifiable by their highly specialized armour (including metal
and lacquered elements), samurai within tattoo compositions may appear in a
variety of ways. Paired with a dragon, the tattoo suggests protection of
family. A samurai in an oni mask might suggest the wearer is facing an inner
demon.
 Ki taro

Tattoos featuring the 'golden boy' revel in the dynamism of his legend.
Thought to be based on Heian period samurai Sakata Kintoki, who served
feudal lord Minamoto no Yorimitsu, Kintaro’s most famed exploit revolves
around diving into a river and wrestling a giant koi. It is this exploit that
forms the majority of tattoo compositions.
Often rendered as a sleeve or a backpiece, Kintaro-based designs find
the boy either steering the koi or holding on for dear life. In either instance,
the tattoo conveys the strength of his conviction and willpower.
 S oki

A vanquisher of evil, Shoki is best known as a protector against illness. The

mythology around him is rooted in 8th-century Tang dynasty China, with the
story of a medical student Zhong Kui, who dreamed of becoming doctor to
the emperor. Though he passed his exams with flying colours, Zhong Kui’s
appearance frightened the emperor, compelling him to deny the man of his
lifelong goal. Distraught, Zhong Kui took his own life. Soon after, the
emperor became ill and was troubled with nightmares. Within these, a spirit
emerged to defeat the emperor’s symptoms, and revealed himself as Shoki.
The fearsome appearance that put off the emperor is celebrated in
depictions of Shoki. He is large, wears a beard and scholarly robes, and
often a pair of black boots. His faithfulness to the emperor, despite initial
denial of Zhong Kui, makes him a symbol of devotion. In Japan, the legend
was revived during the smallpox outbreak of 1865, and Shoki remains in
contemporary culture, featuring in Children’s Day celebrations.
 Cobra

The cobra is defined by two things: it is highly venomous and its upper neck
ribs expand to form a distinctive hood. In a tattoo, these two aspects give a
clear ‘don’t mess with me’ message. Posed coiled and ready to strike, a
cobra tattoo symbolizes a warding off of danger, whether it be the prospect
of misfortune or of potential conflict.
In ancient Egyptian mythology the cobra represents a guardian of the
underworld, and in Hinduism it serves as a protector of Shiva. But it is the
appropriation of the symbol in the western traditional style that gives it the
associations described above, best rendered in powerful bold line and bright
colours.
 Duel i t e Su

A tattoo with a brilliant legacy, the ‘duel in the sun’ is well known as part of
legendary Lyle Tuttle’s body suit. Covering Tuttle’s back, the work was inked
by Bert Grimm from a drawing by Brooklyn-based Joe Lieber. Much like the
battle royale, the composition brings together Japanese and western
traditional styles to form an image unique to American tattooing.
The components include a radiating sun (Lieber’s version bares
resemblance to the now-controversial rising sun flag of the Japanese
Imperial Army) and two eagles engaged in combat. Bald eagles, which are
fiercely territorial, do indeed tussle. The meaning of the tattoo itself is not
explicitly tied to this type of dispute, but may convey a willingness to take a
sharp stand and hold ground.
 Sword

Generally speaking, the sword is a symbol of power. As an image, the sword

evokes authority, strength and courage – all characteristics that speak to
overcoming obstacles. In history and in myth, swords are granted to
protagonists (such as Perseus) who are preparing to face challenging foe (in
Perseus’s case, Medusa).
Western-traditional tattooing has no shortage of sword-related imagery.
Rendered alone, with crown or skull hilt, or piercing anything from flowers
to, playfully, the skin itself, the sword follows similar composition to
popular dagger images. However, the difference between the two comes in a
subtle elevation of the sword as emblematic of intellect and valour. This
consideration shifts the association with strength beyond an individual to
encompass broader community or cultural value structures.
 S ake a d Sword

In the caduceus or Rod of Asclepius, a snake wrapped around a staff conveys

a balance of strength and life. However, that association shifts dramatically
when the snake is wrapped around, and pierced by, a sword. In this
composition, the will of good versus evil plays out and is particularly potent
as a visualization of Christian belief.
Positioning the blade in triumph over adversity augments the general
reading of a sword tattoo and gives narrative to the wearer – whether one is
sharing pride in overcoming a challenge or strength in the face of trouble.
 A vil

The anvil, depicted with or without a hammer, symbolizes hard work and
dedication. Overtly, there is connection to the blacksmith – and thus to craft –
subtly allowing for consideration of strength and longevity.
As a tattoo, the anvil primarily features in the western traditional style.
There remains a pleasing connection between the anvil, the circus, the
strongman and tattooing, due to prevalence of the weighted object as a prop
in shows. A few posters from the golden age of the circus show a strongman,
often tattooed, lifting an anvil from chest piercings. Other images depict a
strongman anvil on abs, taking hammer blows from an accomplice in an
effort to relay extreme might.
 Leopard

Nocturnal and solitary, the leopard is famed for its rosette-marked fur. This
animal is one of five extant species in the genus Panthera, which includes
the lion and tiger. It is notable for its short legs and broad skull. Creative
licence allows for the isolation of physical elements, such as using the
rosette form as a standalone pattern, which makes for a potent design that
represents characteristics of strength, such as ferocity, inner power and more.
 Taka

Within Irezumi, depictions of the taka, or hawk, commonly find the bird
perched on a rock or a branch. There, the taka is in position to seek prey but
not actively to hunt – significant as a subtle reminder of its power. Power,
whether in those common compositions, or in association with the samurai, is
key to the significance of the taka. Falconry became associated with the
Japanese nobility in the Heian period, and the ferocity of the bird was prized
through the Edo period, when shoguns created an influential role in their
ranks: master of hawks. However, taka do not exclusively represent an
absolute force. Balancing the taka and a cherry blossom branch, for example,
forms a more complex narrative of transient power.
 7

DESIRE
T e ex, drug a d rock ‘ ’ roll a pect of t e tattoo ca ot be u dere ti ated.
Neit er ould it clo e cou i wa derlu t be overlooked. Tattoo related to
de ire celebrate vice, t ey c a pio exploratio a d t ey o our ri k-taki g.
Ma y y bol al o repre e t t e pitfall of lu t. I bot Japa e e a d we ter
traditio al ver acular , t ere are tattoo t at cover t e duality of de ire – joy
a d pai .
So e arrative related t roug t e e de ig rely o t e 19t -a d 20t -
ce tury yt ologizi g, a d later Hollywoodizatio , of certai life tyle , a d
c aracterizatio celebrated t roug t e travelli g car ival. Ot er co ect to,
a d draw o , t e i tory of erotic drawi g – fro Japa e e s unga to t e work
of To of Fi la d.
Regardle of t e exact c oice of de ig , a y bol of de ire reflect a
willi g e to beco e i er ed i life’ exciti g po ibilitie .
 Pi Up

While the term ‘pin-up’ was coined in the 1940s, the origins of the mass-
produced, sexualized female image dates back to the 1870s and 1890s, with
the advent of the Gibson Girl in the United States and magazines featuring
burlesque dances in Europe. It’s no surprise, then, that tattoo culture
embraced the idealized figures as part of its visual vocabulary, with flash
books from the turn of the century devoting at least a few pages to articulating
a certain vision of buxom beauty.
The pin-up received a boost between 1900 and World War II, when
images were placed on ships, planes and, of course, newly enlisted
servicemen. Wearers inked with such ‘morale-boosting’ reminders of the fun
at home were sometimes rebuked and forced to give the figures a little more
covering. As early as 1908, the United States Navy prohibited nude pin-ups,
with several tattooists, including New York’s Charlie Wagner, stating that the
dictum brought in a sizable business of touch-ups.
Today, the highly stylized western traditional pin-up girl remains
popular, with neo-traditional styles inviting more flexible definitions of
beauty. It is important not to overlook ‘beefcake’ designs, some of which
follow from the stylized masculinity of Tom of Finland. Furthermore, other
designs capture a range of kink and push the pin-up idea to more nuanced
territories.
 Ma ’ Rui

A compilation of vices, ‘man’s ruin’ reflects tattooing’s bawdy,

predominantly heteronormative, 20th century history. Common elements
include booze, gambling ephemera and a woman – the chasing of each having
potential to ‘ruin a man’. The design, especially at its most base, allows the
wearer an embrace of debauchery. Drawing a little from the tongue-in-cheek
origins, and personalized for one’s own perversions or preoccupations, the
conceit becomes a more universal exploration of the perils (or joys) of
desire.
 Gyp y Head

The gypsy head, or girl head, owes its development to a very particular time
in popular culture. Circus attractions, penny arcades and all the hustle and
bustle of burgeoning, cheap urban entertainment in the 19th century relied on
several commoditized attractions, among which were the heavily tattooed
man and woman. Another was the gypsy fortune-teller. While the former no
doubt helped to spread standard tattoo images, the latter inspired, to a
degree, a now common design.
Flash books of the 1920s and 1930s shared various styles of girl head,
each displaying an unbridled feminine power. Representing fortune,
opportunity and risk, these designs (despite being stereotypical and
problematic today) largely carry positive association. Contemporary wearers
may wish to convey a certain optimistic wanderlust. The composition, which
can include specificity to adornments, remains a western traditional classic.
 Jorōgu o

The jorōgumo, woman spider or binding bride, is a shapeshifting yōkai

(Japanese folkloric goblin), that entangles men with false charms. Its figure,
the body of a spider with a beguiling human face (often depicted as a geisha),
makes it one of the most visually intriguing motifs in the Irezumi vernacular.
It represents the dangers of a universal human weakness – that of succumbing
to overwhelming, instantaneous desire.
As an idea, lovesickness finds expression in many cultures, from the
tales of eros to contemporary pop songs. As a tattoo, through the jorōgumo,
the notion becomes a visceral image. In one particular myth, set at the Jōren
Falls of Izu in Japan, despite her destructive side, the jorōgumo also carries
the power to ward off disaster. That duality serves the tattoo well, acting as a
reminder that recognition of risk predetermines security.
 Gei a

Closed to the West until 1853, the opening of Japanese ports to international
trade prompted a period of intense interest in the country’s art. Luminaries
from James McNeil Whistler and Edgar Degas to Claude Monet and Mary
Cassatt were entranced by masterful woodcut prints. Through the late
Victorian and early Edwardian periods, fascination in the Japanese aesthetic
and craft permeated all visual arts, influencing architecture and interiors (as
evidenced in the work of New York’s famed Herter Brothers), as well as
bringing a perceived exoticism to mass-produced goods.
Among the popular forms were Westernized images of geishas – Japan’s
famed professional artisans. Face framed by a parasol, the motif was quite
familiar by the 1880s, appearing as bronze statuettes and teapots, ceramic
figurines and, as produced by New Haven, Connecticut’s Russell & Erwin,
distinctive doorknobs.
Geisha designs were adopted by tattoo artists as well, taking root in the
late 19th century and continuing to formalize through the 1910s. The influence
of Japanese imagery on tattooing, blossoming in this period, ensured that
several key designs – the dragon and the geisha among them –became
ubiquitous in flash sheets and books.
A particularly striking example appears on a flash sheet painted by
Edward Smith in 1911, where it appears alongside a large-scale pharaoh’s
horses design (see here), illustrating the cross-cultural pollination that
informed tattoo vernacular at the time. Contemporary geisha designs are,
undoubtedly, remnants of the 19th-century visual culture. Meaning derives
from associations with beauty and mystery, and the image continues to relay
an untouchable grace and feminine power.
 Cowboy

As with the cowgirl (see overleaf), the popular image of the cowboy
blossomed with the swell of Victorian popular entertainment. A hallmark of
the Wild West, the cowboy represented less the multicultural assemblage of
people working the region and more an idealized personification of freedom.
The 19th century witnessed the rise of cowboy stars, such as Buffalo Bill,
as well as renowned outlaws. These characters helped shape the tone of the
image but, unlike the cowgirl, it was not a prevalent design in early 20th-
century tattooing. However, within the neo-traditional style, celebration of
the cowboy as a metaphor for free living is clear and constant.
 Cowgirl

During the final third of the 19th century, idealization of the cowgirl gained
traction in the popular imagination through the sensational press coverage of
tours such as Buffalo Bill’s Wild West Show. Tough, beautiful women
depicted sharp with pistol and rope helped form the standard image of a
stunning figure adorned with brimmed hat and a bandana around the neck.
This vision of the cowgirl spread from papers and posters to flash sheets
– where they remain consistent today. As with the pin-up (see here), these
female-focused designs express desire. However, nuance comes in
combination with the free-living stereotype of the Wild West outlaw, granting
a more unbridled lust (for life, at least) to the image.
 Key

The key represents, naturally, the ability to unlock potential. Tie that idea to
freedom, and the key becomes a brilliant conduit for expressing a broad,
bold vision of desire.
Stylistically, many key tattoos are modelled on Victorian skeleton keys,
in which much exploration and variation of the bow (the bulbous portion of
the key’s anatomy) is evident. Designs range from simple ovals to hearts and
build in complexity with ornate interlockings.
 Mer aid

Mermaids are a natural fit for the western traditional style. Embodying all the
mystique and visceral lure of the sea, the symbol conveys a thrilling
combination of sensuality, freedom and independence.
The mermaid has origins in ancient mythology, as a charmer of seafarers
with both beauty and song. Depicted in the visual arts since that time,
mermaids appear as tattoos at least from the mid-19th century. One clear
example was catalogued in naval records pertaining to Philadelphia-born
sailmaker James Forten Dunbar, who was documented in 1863 as having a
mermaid on his right forearm. As the tattoo design matured, similarities with
the pin-up reinforced the connection between the charms of the ancient siren
and sailor lust.
 C erry

The classic western traditional cherry tattoo carries strong sexual

connotations: desire, lust, innocence, femininity, fertility and more. The
aesthetic, a pop-driven pseudo-realism, follows from use of the cherry as a
printed motif in fashion from the late 19th century onwards. By the 1940s and
1950s, the cherry had leapt from fabrics to Bakelite and flourished as
celebrated mid-century kitsch.
Rockabilly nostalgia is one conduit for the enduring appeal of a cherry,
too. The design is a revival of a certain ‘90s ebullience; the vibe of the eras
common flash sheets, from Cheery Creek, rediscovered. While meaning
ascribed to the cherry may not retain the same cultural reading as over a
century ago, fresh societal nuances steady the core tenor (again, that sexual
charge) with new opportunity.
 Fla i g Motorcycle W eel

Taking inspiration from the winged wheel, with its origins in Mesopotamia
and links with the Greek god Hermes, cycling clubs and railway guards, the
flaming motorcycle wheel speaks to deep burning passion and desire.
Inherently, the design assumes movement. And, in practice, it represents a
type of blazing wanderlust represented by motorcycles, the open road and all
its inferred rebelliousness.
Such images are rooted in both the popular culture and tattooing of the
1940s, 1950s and 1960s, especially following films such as The Wild One
(1954) and Easy Rider (1969). The association, stereotypical or otherwise,
between outlaw and biker, was a significant theme within early tattoo
magazines, where magazines dedicated to motorcycle culture featured
tattoos, helping create some of the modern associations for the practice.
 8

RESILIENCE
Toug e co e i variou gui e , particularly w e it co e to tattoo-related
y bol . W ile t ere are core of de ig a d otif repre e ti g tre gt ,
t ere far fewer pecifically ig ifyi g durability of pirit.
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t at validate t e i pact of a c alle gi g jour ey a d t o e t at erve a
tali a agai t a for idable experie ce. Bot are i porta t to tattooi g’
ric ver acular, expre ive of, i t e ca e of t e koi, a o ouri g of ce tury’
ric yt ology a d, a wit t e boxer, t e capacity to create a e deari g a d
ultifaceted y bol.
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fro t e wallow to t e gloriou Ho eward Bou d co po itio . A tattoo , t e
e dura ce of t e e de ig peak to t e ce trality of clie t de ig to co vey
re olve over t e decade , ce turie a d, per ap , ille iu . Adoptio today
are ot o ly t e ticki e of t e grap ic i tegrity of t e de ig , but al o
re i d t at y bol wit i tattooi g co ti ue to be adapted by ucce ive
ge eratio .
 Swallow

The swallow tattoo is indebted to sailor lore. Several legends pay homage to
the swallow’s monogamy, migratory mates returning to the same breeding
ground year after year. Sailors also associated the swallow with experience
and tattooed themselves with the bird as testimony to their success in
travelling long and dangerous distances: a single swallow denotes 5,000
miles (8,000 km) sailed; a pair 10,000 miles (16,000 km). The typical
location of the swallow tattoo, on chest, hand or neck, follows sailor
tradition, too. One further legend, from the British navy, suggested a swallow
tattoo between thumb and forefinger upon the rounding of Cape Horn.
Today, the swallow tattoo appeals to those wishing to commemorate a
journey or voyage. It has become a universal symbol of resilience and is one
of the most recognized designs in the western traditional style.
 Boxer

Classic boxer tattoos epitomize toughness and resilience. Designs in the

western traditional style take a cartoon-like stance, the idea being to
exaggerate the (primarily) male physique and play up the wearer’s inner
strength by bolstering their outer strength.
The boxer conveys a ‘life can’t knock me down’ message, although
combining figures with banners of text allow for more literal proclamations.
Additionally, the body of the boxer itself may be decorated with tattoos,
layering meaning, and giving the design both a personal and a playful punch.
 Dagger

The traditional dagger tattoo conveys the fighting spirit of the wearer. As
with the swift, brutal use of the weapon in combat, as a symbolic device, the
dagger is suited to strong, blunt statements.
Many designs embrace it as a device for celebrating protection and
sacrifice. Paired with a rose, for example, a dagger expresses a willingness
to defend the vulnerable. Adorned with a banner reading ‘Too Tough to Die’,
the dagger signifies bravery in facing one’s mortality. Positioned with a
heart, the dagger represents the polarities of love (beauty, pain and loss).
These examples explore a specific potential for dagger tattoos, one in which
the composition allows the wearer to explore opposing life forces specific to
their individual journey.
 Ho eward Bou d

A full-rigged clipper, its bow splitting waves, and a triumphant banner

reading ‘Homeward Bound’ stands as one of the most iconic images of
western traditional tattooing. The design’s immediacy emphasizes the
potency of its narrative, and it serves as an amulet for sailors aware of
dangerous and lengthy voyages that lie both in the past and in the future. In
sailor lore, homeward bound tattoos are associated with ‘rounding the Cape’
or ‘rounding the Horn’, navigating the crashing waves and heavy currents
where the Atlantic and Pacific Oceans meet above the icebergs of Antarctica.
Recording one’s escape from the clear threat of danger, and the risk of
succumbing to a watery grave, was paramount.
Compositionally, the homeward bound design was crystallized in the
early 20th century by legends such as Bert Grimm, often appearing on fully
covered bodies. The clipper might be augmented by clouds and rippling
water. It might also be framed by fish or sit atop an eagle. Contemporary
deviations might place the clipper in a bottle. Regardless, the power of the
image derives from its resolute spirit and a belief in overcoming challenge.
 Torc

Popular in 19th-century funerary symbolism, the inverted torch with burning

flame, represents eternal life. The symbol derives from Greek and Roman
mythology (specifically the gods Thanatos and Mors) and additional motifs,
such as wreaths and wings, evidence the Victorian trend for reviving and
formalizing perceived pagan ritual.
Depicting the inverted torch with a wreath denotes victory over death;
wings suggest a smooth journey into the afterlife. Employment of an inverted
image may also serve as a reorientation of life, of putting one stage to rest
and setting forth on a new chapter.
 Barbed Wire

Patented in the 1860s, the use of barbed wire to define controlled spaces
spread quickly in the late 19th and early 20th centuries. The characteristic
barbs are harrowing, striking, visceral – characteristics that serve tattooing
well. For those who came of age in the 1990s, barbed wire tattoos carry
cringe-inducing associations with mass-market cool. Produced as bicep
bands, loosely mimicking the era’s watering down of neo-tribal style, barbed
wire adorned the bodies of Hollywood A-listers and professional athletes
alike.
Despite the numbing ubiquity of the design at that time, barbed wire
tattoos symbolize faith during struggle. There is a Christian connection to
Jesus’ crown of thorns, and, more universally, the wire represents strength
and perseverance. Wrap a heart with barbed wire, and the composition
speaks to redemption. Connect with a rose, and a story of peace overcoming
danger blossoms. Each of these options, and several more interconnected
barbed wire designs, confirm resilience in the face of challenge.
 Arrow

The arrow is one of the most adaptable symbols in tattooing, where popular
associations with love (and cupid) abound. The most potent connections,
however, derive from Native American tradition. Arrows are tools for
sustenance, through hunting, and for protection. Crossed arrows represent a
truce, or alliance, while a broken arrow signals harmony and peace.
Adaptations relate to a central theme of triumph over struggle, of finding
calm and moving confidently into a new phase of life. For many
contemporary wearers, the arrow signals positive direction.
 S ip

Sailors’ have worn ship tattoos for centuries. In fact, numerous American
seamen documented by Sailor Protection Certificates (which protected
carriers from forced foreign naval service) in the late 1700s included notes
on tattoos. The certificates themselves were employment-related, as were the
tattoos in many cases, including anchors, wheels and vessels, and similar
association between the ship and safe return is achieved by pairing a boat
with a compass.
While the origin of the ship tattoo is firmly entrenched in seafaring lore
and community, contemporary depictions stretch the mystique to an all-
encompassing celebration of life’s journey. A ship can represent a spiritual
awakening towards a new beginning.
 C ry a t e u

Blooming in autumn, the chrysanthemum’s cycle brings beauty despite the

oncoming winter. It is one of the most cultivated flowers in the world, with
more than 20,000 different cultivars identified, and as such carries nuanced
meaning across different cultures. For example, in parts of Europe, the
flower is given to express sympathy and is specifically associated with
death. However, in Asia, the chrysanthemum symbolizes a long and happy
life. This is the meaning most frequently represented in tattooing, where the
chrysanthemum stands for longevity and devotion.
In Irezumi, the chrysanthemum motif is associated with the imperial
family, symbolizing perfection and chivalry. These characteristics underscore
the longevity and joy required to maintain harmonious order in society.
Chrysanthemums also figure in tattoos that honour recovery – whether from
illness or some other challenge – extending the core meaning and more
overtly referencing a resilient spirit.
 Koi

Most simply, koi – an ornamental variety of carp – stand for courage and
perseverance. In both Chinese and Japanese legend, the fish stars in tales of
overcoming insurmountable challenge. The most famous myth finds the koi
tirelessly progressing upstream, pushing beyond rapid currents before
reaching a waterfall. Undeterred by repeated failures, as well as mocking by
onlooking demons, the koi finally reaches the top and transforms into a
magnificent dragon. The koi’s resilience thus allows it to become an even
greater creature.
In tattooing, compositions of koi commonly depict the fish moving
upwards in recognition of the myth and its powerful symbolism. A koi
depicted downstream is by no means representative of failure. In contrast, it
relays that the wearer has reached a tranquil place – years of resilience in
overcoming obstacles now allowing for a period of calm. Colour choice is
also significant: a black koi is associated with overcoming challenge, red
with intense love.
 Bulldog

Many popular designs entered the tattoo lexicon during war time. Among
those is the instantly recognizable United States Marine Corps (USMC)
bulldog, or ‘devil dog’, which was born during World War I and has
continued to relay a specific resilience ever since.
The composition, which features an English bulldog in battle helmet,
stems from a 1917 USMC recruitment poster. Reading ‘Teufel Hunden’
(devil dogs), the poster refers to a German nickname for US Marines,
granting it a tough, jowly and unforgettable image. The bulldog became the
USMC’s unofficial mascot, with a string of famous enlistees joining from
1922.
In contemporary tattooing, associations with determination and
stubbornness to challenge remain tied to the bulldog. Its image, now in a
wide variety of western traditional articulations, is not only a common one
on flash sheets, but also an ever-popular design.
 Deat Before Di o or

The phrase ‘death before dishonour’ says it all: a privileging of upright

service above all else.
Historically, variations of the idiom flow from the Bushido code of the
Japanese samurai and through centuries of European military units. Another
relation to the phrase derives from the ancient Roman story of Lucius
Verginius, who killed his daughter, Verginia, rather than have her virtue taken
by the corrupt Appius Claudius. This tale, along with the phrase ‘death
before dishonor’, appeared in the pages of Harper's Weekly in 1844,
depicted by cartoonist Thomas Nast, and would have been easily read in
relation to 19th-century honour culture. Elements of these beliefs are further
disseminated in 20th-century comic books.
Most commonly, death before dishonour tattoos include strong graphic
elements, such as daggers, or symbols of national pride, such as the eagle.
The words of the phrase are elevated above the graphic elements in a
flowing banner. And while there is clear connection today with military
service, particularly the US Marine Corps’ Semper Fidelis (Always
Faithful) motto, the application for anyone wishing to convey a life lived
without compromise rings strong.
 Cockerel

One of the prevailing interpretations of a rooster, or cockerel, in tattooing

derives from maritime folklore. Housed in wooden crates on deck, roosters
and pigs were believed to have a high rate of survival in the event of a
shipwreck. The duo formed a tattoo conceit – pig and rooster – with the
rooster on the top of the right foot and pig on top of the left. Together, they
offered luck against tragedy.
Cockerel tattoos are, however, not defined by this association alone. As
with many tattoo designs in the Western cannon, rooster and cockerel images
have 20th-century meanings. The bird’s inherent courage and fight (celebrated
from World War I as an unofficial symbol of France) primarily serves as a
reference to toughness and masculinity. A self-confident and, ultimately,
resilient attitude is imbued within designs featuring the rooster.
 9

LOSS, MEMORY AND TRANSIENCE

T e pectre of deat , a d of fi ality, loo large. I tattooi g, i ue of lo a d
e ory, a d of tra ie ce a d deat , are atural ubject . Eve if t ey do ot
addre ortality directly, t ey reflect a ociatio of ti e pe t or pa ed.
T e fact t at tattooi g a d deat ritual bega to co ercialize at roug ly
t e a e ti e ay accou t for t e pro i e ce of our i g art i 19t -ce tury
fla eet . Weepi g willow , to b to e , grievi g o – all are co o .
Elaborate, al o t pre criptive cu to ade co e oratio of t e dead a
defi i g activity of t e era. It eld a t oroug ly o bre to e, wit deat
e braced a a o e t to li ger o lo it elf.
Eve older y bol , uc a t o e derived fro Ro a traditio , carry a
deep dark e . Mid-20t -ce tury favourite like t e firecracker cat, are a
al o t to gue-i -c eek revival of t at a cie t acabre. Mea w ile, t e eo-
Edwardia flare of o e 2000 de ig give pace for play o ti e-keepi g a d
ti e lo t.
Sy bol like c erry blo o e courage a celebratory e brace of
ep e erality. Si ilarly, Day of t e Dead ico ograp y are a ore exubera t
per pective o deat a co pared to Victoria be aviour . A d eve t e gri
reaper, a terrifyi g a figure a a y, ca co vey a po itive e e of t e wearer’
old o ti e.
 Rat

The rat has an unshakable association with plague, blamed as it was for
spreading the Black Death during the 14th century. And while scientific
evidence for this is lacking, rats continue to be linked with disease and death.
More potent, however, is this creature’s association with fertility and
resilience. These characteristics are clear in Chinese zodiac symbolism,
where the rat is championed for ambition and intelligence.
 Crow

Acknowledged as a bad omen in European tradition, the crow derives its

connection with death from its biblical role as a companion to Satan. The
birds pecked out the eyes of sinners and carried damned souls. In Greek
mythology, the crow is similarly ominous, but primarily in relation to bad
news.
However, in other cultures, the crow carries more positive associations
with transience. Shinto tradition treats the crow (karasu), in particular the
three-legged Yatagarasu, as a divine intervention guiding luck and decision
making. Native American cultures view the crow as a mediator between the
land of the living and land of the dead.
This breadth of association allows some diversity in representation. But
alignment with the ‘in-between’ gives the crow a versatility in designs
driven to explore transience and monumental shifts.
 Skull a d Cro bo e

Many point to the Capuchin Crypt in Rome as home of one of the original
skull and crossbones symbols. There, the icon lives in eternity alongside
4,000 resting souls of the order’s monks. The crypt stands as a visceral,
powerful memento mori and the skull and crossbones is now a universal
emblem of death, used as a standard warning sign against hazards since the
1880s.
 Calaca

Commonly decorated with flowers and butterflies, the colourful día de

muertos skull (or candy skull) references Mexican tradition in honouring the
dead. The creation of wooden skulls, known as calacas, correlates to the
celebration of All Saints’ Day and All Souls’ Day at the beginning of
November, which gained popularity after the Mexican Revolution. During the
festivities, the skulls are given as gifts to both the living and the dead. As
tattoos, they reference strength in familial lineage and celebration of life.
 Cro

The visual antonym of a heart with banner, the memorial cross is one of the
most prevalent symbols of loss in contemporary tattooing. With origins in
mourning imagery of the 19th century, the standalone cross with banner
follows from tombstone depictions (‘In Memory of Mother/Father’) and
finds best form in the three-dimensionality afforded by the black and grey
style.
 To b to e

Employment of a tombstone in memorial tattoo designs owes much to the

mourning traditions of the Victorian era. This period, spanning 1837 to 1901,
was marked in the West by swift spread of disease and high infant mortality,
the American Civil War and, generally, a low life expectancy. Together, these
factors made mourning not only a regular part of daily life, but a very public
one. As such, a robust industry of memento making arose – funeral cards,
etchings and lithographs — expanding the visual culture of death and
transforming conventions related to displaying grief. As with several other,
now classic, tattoo designs, including the formidable ‘rock of ages’, the
image of family members grieving beside a tombstone (both with and without
a background willow) shifted easily from print to tattoo culture. Tattoo flash
books of the 20th century regularly included a few articulations of the idea,
and as the western traditional style – with its characteristic heavy line and
strong shading – matured, standalone tombstones took on a new design
integrity.
Today, tombstone tattoos remain a popular way to reflect on loss.
Whether in the western traditional or rendered in the black and grey style, the
symbol serves with or without further decoration. However, the
incorporation of other symbols – doves, keys, roses – often augment the
image and add depth to its story.
 Gri Reaper

If candles, clocks and watches relay transience of time, the grim reaper
carries with it an abrupt impermanence. As a symbol, it is commonly
understood as the personification of death. The notion of the figure, complete
with scythe, may have emerged in popular imagination during the Black
Death, which swept Europe during the middle of the 14th century, but the
name ‘grim reaper’ doesn’t appear in English until the 19th century.
Of course, the grim reaper is not alone as a personification of death – a
constant in all cultures, inclusive of the angel of death. However, the hooded
skeleton with scythe makes for a powerful, agnostic tattoo articulating the
inevitability of life’s end. Wearers aren’t just honouring their demise, but
also reminding themselves to embrace life as lived.
 Pocket Watc

As with the hourglass (see here), pocket watch tattoos mark the presence of
time. However, in design there is greater opportunity for personalization. The
watch face can be ‘set’ to mark important moments – birthdays,
commemoration of life-altering events and even counterculture associations.
Aesthetically, a pocket watch takes to the black and grey or western
traditional style with equal vigor.
Pocket watch tattoos are among the motifs that became common through
steampunk and other cultures pioneering a futuristic, Victorian-era look.
Though not exclusively associated with that scene, the bubbling of corseted
ladies, penny-farthings, sewing machines and other 19th-century
paraphernalia at the turn of the 21st century, certainly elevated the place of
the pocket watch in contemporary tattooing.
 C erry Blo o

Within Japanese culture the cherry blossom (sakura) is celebrated as a

symbol of beauty and youth. Blossoming in spring, and falling quickly, the
flower itself commands attention as a stern reminder that joy begats
melancholy. Thus, given the fleeting nature of the sakura, images employing
these blooms reconcile the tides of time in sensitive contemplation of
transience. The notion connects to a specific concept: mono no aware. In
essence, the embracement of ephemerality.
 Hourgla

Symbols of time form a unique body of tattoo vocabulary. These range from
the overt – a commemorative date inked on the wrist – to various
representations of quotidian details. One popular articulation, the hourglass,
can run the gamut, allowing for visualization of passing time at different
scales. The hourglass was certainly cemented in popular culture in the 14th
century, appearing in visual arts and gaining significant use across a variety
of industries.
Though now obsolete as a central timekeeping device, the hourglass
remains etched in our collective conscious. As such, the image of the
hourglass serves well in tattoo compositions related to life, death and the
spirit of human existence. The hourglass reminds of fleeting existence
(punctuated when wings are included in the design) and the eternity of the
soul.
 Firecracker Cat

There’s a direct reason for the naming of this now ubiquitous image: the cat’s
head derives from the logo of a famed firework brand, Black Cat. With
hissing mouth and piercing eyes, the firecracker cat forms an arresting image
of fear and pain.
The Black Cat brand emerged in the United States in the 1940s, gaining a
patent in 1952. It has since become the mainstay of any celebration involving
fireworks. Disconnected from its origin, the firecracker conveys a
pronounced era-specific macabre tone – all the mid-century creepy cat feels.
 Maple Leaf

While the sakura blooms and dies in spring (see here), the spectacle of the
maple leaf’s transition to brilliant reds and oranges sparks moment to ponder
the cycle of life in autumn. In Japanese tattooing, the maple leaf (momiji) is
used as a symbol of life’s transience – a vivid reminder that all things live
and die – and a reminder of passing time. Leaves are often represented as
flowing in water or floating in wind, augmenting their association with
fleeting moments.
 Ca dle

The candle’s connection to death lies in its inherent impermanence. With the
flame dancing, life abounds. Yet, blown out, the candle is diminished and
spiritless.
Moreover, the candle embraces transience. The fleeting nature of the
flame demands that the wearer considers life in the moment – living to one’s
fullest potential – and is especially potent when combined with other
elements in memento mori or vanitas imagery.
 Coffi

The coffin is a direct, and rather overt, ode to mortality. In articulation, the
design is best served up in the western traditional style – with or without
colour. Flowing banners allow for direct personalization, either in memory
of a specific individual or to carry a common idiom (for example, ‘Sleep
Well’). Alternatively, phrases combine with the coffin motif to lay to rest a
bad habit and close off a phase of life.
Considering shape, the six-sided coffin – tapering from shoulder to foot –
finds regular use in contemporary tattooing. Rails and other adornments,
elements that became common with the commercialization of funeral ritual in
the Victorian era, allow additional choices in how one might define the tone
of the coffin itself.
 Mo e to Mori

‘Remember you must die’. In both direct translation and visual articulation,
memento mori articulates the impermanence of life. Popular compositions
include skull, candle, hourglass, fruit and more as representations of decay
and mortality.
However, it is also common, and has been since the 1700s, to balance
these elements with suggestions of earthly pleasure. In this, one may capture
the vanities (or interests) of the deceased honouring a life lived and pursuits
followed. Seen in this light, the memento mori becomes a sort of vanitas still
life, symbolizing the specific character and culture of a given individual.
 Na akubi

These severed and pierced heads, undoubtedly gruesome in composition,

have origins in samurai tradition, particularly in the Edo period, when there
was staunch belief in death with honour. Rather than die a shameful death,
they chose seppuku – a two-part ritual in which the samurai stabbed
themselves while another swung a sword to decapitate them.
Generally, the namakubi design conveys a dedication to ideas. The
tattooers of New York’s Kings Ave Tattoo refer to it as ‘a more romantic take
on the impermanence of life’.
 I dex

A
Adonis 22
Aesthetic Movement 74
all-seeing eye 63
anchors 62, 70
anvils 150
Aphrodite 22
Appius Claudius 195
arrows 186–7
Art Deco 122
Art Nouveau 74
Artemis 100
Asclepius 71
Aztec 136

B
baku 72–3
barbed wire 185
Black Cat 213
Black Death 200, 208
black widow 66, 129
Bodhidharma 113
boxers 175, 178–9
Brennan, James Alexander 58
broken chains 50
Buddhism 29, 39, 77, 95
Buddha 39
daruma 113
diamonds 126
lotus 90
omamori 102
 saru 45
stags 51
Tennin 106–7
tigers 135
wheel of dharma 35
Buffalo Bill 166, 168
bulldogs 194
Burchett, George 43
butterflies 80–1
butterfly girl 26–7

C
Caddigan, Jack 58
caduceus 53, 71, 149
calacas 204
candles 215
Cassatt, Mary 164
Catholicism 34, 42
cats: firecracker cat 212–13
maneki-neko 103
Celtic 42, 51, 77, 101
chains, broken 50
Chavez, Cesar 33
cherries 172
cherry blossom 199, 210, 214
cherubs 10–11
Chinese 72–3, 87, 99, 109, 124, 142–3, 192, 200
Christianity 6, 29
barbed wire 185
Celtic cross 42
doves 12
frogs 92
hamsa 118
head of Jesus 30–1
 moths 83
snake and sword 149
stags 51
chrysanthemums 190–1
clasped hands 19
clowns 78–9
cobras 84, 144–5
cockerels 196–7
coffins 216–17
Coleman, Cap 80
compasses 53, 56–7, 188
cowboys 166–7
cowgirls 166, 168
cranes 9, 14–15
crosses 42, 205
crows 201
crying hearts 18
Cupid 9, 10

D
daggers 180–1, 195
Daikoku 97
daruma 113
David, King of Israel 116
Day of the Dead 199
De Beers 126
death before dishonor 195
Degas, Edgar 164
devil 43, 101
diamonds 126–7
dice 96
Diego, Juan 33
Dietzel, Amund 122
doves 12, 206
dragons 124–5, 135, 139
duel in the sun 146–7
Dunbar, James Forten 170
Dunstan, St 101
Dürer, Albrecht 34

E
eagles 136–7, 195
Egyptians 63, 66, 74, 87, 92, 144
eye, all-seeing 63

F
fairies 95, 104–5
Feist, Leo 58
firecracker cat 212–13
flaming motorcycle wheel 173
foo dog 108–9
frogs 92–3
Fujin 48–9

G
Ganesha 38
geisha 163, 164–5
Gibson Girl 157
God 63
Greeks 100, 105, 126, 136, 184, 201
grieving sons 199
grim reaper 199, 208
Grimm, Bert 18, 27, 77, 88, 89, 147, 182
Grimshaw, William 122
gypsy head 160–1

H
Haida mythology 77
hammers, lucky 97
hamsa 95, 118
hands: clasped 19
praying 29, 34
hannya mask 20–1
hawks 152–3
heads: gypsy head 160–1
head of Jesus 30–1
hearts 10, 16–17, 181, 185
crying hearts 18
Immaculate Heart 29, 40–1
Sacred Heart 29, 36–7, 40
Heqet 92
Hermes 71, 173
Herring, J.F. 132
Herter Brothers 164
Hidalgo y Costilla, Miguel 33
Hinduism 29, 35, 38, 144
Homeward Bound 175, 182–3
horses, pharaoh’s 132–3, 164
horseshoes 96, 98, 100–1
Horus 63, 66
hourglasses 209, 211
Hyottoko 114, 115

I
Immaculate Heart 29, 40–1
Inanna 118
Irezumi 7, 14, 87, 135, 153, 190
Ishtar 118
Isis 66
Issun Boshi 97
J
Jack Mendelsohn Music 58
Japanese 6, 14, 53, 155
baku 72–3
Bushido code 195
cherry blossom 210
chrysanthemums 190
daruma 113
dragons 124
duel in the sun 147
foo dog 109
geisha 163, 164–5
hannya mask 20–1
Hyottoko 115
kappa 44
koi 192
maple leaf 214
namakubi 220–1
omamori 102
oni 64–5
peonies 99
phoenix 87
Raijin 46–7
samurai 139
saru 45
Shoki 143
snakes 84
taka 152–3
tanuki 119
Tennin 106–7
tigers 135
uchide no kozuchi 97
Jerry, Sailor 54, 55
Jesus 30–1, 92, 185
Jin Chan 112
jorōgumo 162–3

K
kappa 44
Kewpie 43
keys 169, 206
kingyo 110–11
Kintaro 121, 140–1
Kintoki, Sakata 140
koi 110, 140, 175, 192–3
kraken 138

L
leaves, maple 214
leopards 151
letters, love 24
Lieber, Joe 147
lighthouses 68–9
lotus 90
Lucius Verginius 195
lucky hammer 97
lucky 13 98

M
maneki-neko 103
man’s ruin 158–9
maple leaves 214
mermaids 170–1
Mexico 32–3, 204
Mingins, Rich 27
Mohammed 116
momento mori 219
Monet, Claude 164
moon 89
moths 82–3
motorcycle wheel, flaming 173
Munden, Oliver 7

N
namakubi 220–1
Nast, Thomas 195
Native Americans 83, 128, 136, 186, 201
nautical stars 53, 54
Noah’s Ark 12
Norse mythology 138
North Star 54

O
Oertel, Johannes 60
Okame 114, 115
omamori 95, 102
O’Neill, Rose 43
oni 64–5
O’Reilly, Samuel 60
Our Lady of Guadalupe 32–3
ouroboros 84
owls 91

P
panthers 122–3
parrots 13
peacocks 53, 74–5
peonies 99
Perseus 148
pharaoh’s horses 132–3, 164
phoenix 86–7
pin-ups 156–7, 168
pocket watches 209
Polynesia 55
praying hands 29, 34
prisoner of love 25

R
Ra 66
Raijin 46–7
rats 200
Red Cross 58
Rock of Ages 7, 53, 60–1, 206
Rockwell, Norman 9
Rod of Asclepius 71, 149
Romans 74, 136, 184, 199
roses 9, 10, 22–3, 181, 185, 206
rose of No-Man’s Land 58–9
Ryu 124

S
Sacred Heart 29, 36–7, 40
Sailor Protection Certificates 188
samurai 139, 195, 220
saru 45
Satan 201
Saul, King 116
scorpion 66–7
Serket 66
sharks 53, 55
Shintoism 45, 48–9, 95, 102, 114, 201
ships 188–9
ship’s wheels 62–3
Shiva 144
Shoki 142–3
skulls 130–1
Day of the Dead 204
skull and crossbones 202–3
Smith, Edward 164
snakes 84–5
cobras 144–5
snake and sword 149
sons, grieving 199
spider, black widow 66, 129
spider’s webs 95, 116–17
stags 51
stars, nautical 53, 54
sun 88
swallows 175, 176–7
swords 148
snake and sword 149

T
taka 152–3
tanuki 119
Tennin 106–7
Tennyo 106
tigers 134–5, 151
toads 112
Tom of Finland 155, 157
tombstones 199, 206–7
Toplady, Augustus 60
torches 184
Tuttle, Lyle 43, 147

U
uchide no kozuchi 97
United States Marine Corps (USMC) 71, 194, 195

V
Verginia 195
Victorian era 6, 24, 25, 60–1, 163, 164–5, 169, 209, 216
Virgin Mary 33, 40–1

W
Wagner, Charlie 157
Wagner, Gus 132
Warhol, Andy 34
Waters, Percy 43, 132
wheels: flaming motorcycle wheel 173
ship’s wheel 62
wheel of dharma 35
Whistler, James McNeil 164
wolves 128

Y
Yatagarasu 201

Z
Zapata, Emiliano 33
Zeis, Milton 43, 132
Zeus 136
Zhong Kui 143
ABOUT THE ARTIST
Artist Oliver Munden has turned his hand to all manner of styles and
applications for what is fast approaching two decades. Whether it be large
scale murals, retail interiors, record covers, custom products, paper or skin,
another surface is just another challenge.

Vintage skate art, psychedelia, renaissance art and, most notably, European,
American and Japanese tattoo aesthetics are combined to create a
recognisable signature style which has attracted many commercial clients as
well as private clients in his work as a tattooist.

Oliver works at Rock Steady Tattoo located on the south coast of England as
well as taking on commercial artwork projects.
THANKS
Oliver would like to thank his family; Vanessa, David and Joshua
Munden, as well as his friends, for their support and motivation during
the creation of this book.
INFO
Website - www.olivermunden.com
Instagram - @olivermunden
First published in 2022
by Frances Lincoln,
an imprint of The Quarto Group.
The Old Brewery, 6 Blundell Street
London, N7 9BH,
United Kingdom
T (0)20 7700 6700
www.Quarto.com

Text © 2022 Nick Schonberger

Illustrations © 2022 Oliver Munden

Nick Schonberger has asserted his moral right to be identified as the Author of this Work in accordance
with the Copyright Designs and Patents Act 1988.

All rights reserved. No part of this book may be reproduced or utilised in any form or by any means,
electronic or mechanical, including photocopying, recording or by any information storage and retrieval
system, without permission in writing from Frances Lincoln.

Every effort has been made to trace the copyright holders of material quoted in this book. If application
is made in writing to the publisher, any omissions will be included in future editions.

A catalogue record for this book is available from the British Library.

ISBN 978-0-7112-6786-2
Ebook ISBN 978-0-7112-6787-9

10 9 8 7 6 5 4 3 2 1

Illustrations by Oliver Munden

Design by Eleanor Ridsdale Colussi