Black and grey

Black and grey builds depth and realism out of nothing but black and grey tone. Because no colour is used, form and shadow are all there is to see, which makes the way the line and the density are built up decide the result. Along with fine line, it is what I work in most.

Take the colour away and what is left is form and light. Where you keep it dark and where you leave it empty decides the impression the piece makes.

So when a design comes in, the first thing I look at is the skeleton of the shading: the darkest point, the lightest point, and how many steps to put between them.

It suits weighty subjects — religious imagery such as angels, the Virgin Mary and crosses, and figures and animals.

Pieces I have done in it include a Virgin Mary across the back, a fallen angel, angel wings with stars, a whale on the arm and a manta ray.

The wider the area, the longer the shading takes. Depending on size and placement, a piece may be split across sittings rather than finished in one.

It also works well for covering scars and older tattoos, because shading can soften an edge away.

Whether a cover-up is possible depends on the state of what is being covered, so send a photo first and I will tell you.

Anyone's work looks sharp straight after the session. Please judge by healed photographs.

No colour also means there is no colour to shift over the years. It is an easier thing to live with for a long time.

I work by appointment only, in a private studio in Hongdae. Design, placement and size are settled together at the consultation.