There is nothing quite as compelling and artistically pure as Japanese tattoo design. Whether done by needle or by hand, the highly stylized graphics not only perpetuate a time-honored art form, but consistently succeed as easily recognizable, visually complete skin art.

A new book, simply titled Horimasa, published by Tokyo's Gomineko Press and priced at one hundred and fifty dollars, is edited by Crystal Morey, photographed by Geoff Johnson and includes a brief, absolutely excellent interview (in both English and Japanese kanji) with this truly gifted illustrator by Manami Okazaki. Following the traditions of ukiyo-e masters Hokusai and Kuniyoshi, Horimasa did not see a tattoo until he was twenty and did not begin tattooing until after he met his wife at thirty. Interestingly enough, Horimasa's ultimate interest in irezumi (Japanese tattooing) was the result of seeing photos of the work of Horiyoshi III (Yoshihito Nakano), probably in an issue of Tattoo Burst. He ultimately met master Horiyoshi at the Tattoo Summit convention in Toyohashi in 2004.

Living in a secluded area in Gunma Prefecture, Horimasa was forced to teach himself, as there were no local practitioners of the art. Perhaps his most telling and assuring statement was put forth in his two-page interview: "Japanese irezumi motifs are fundamentally based on various ukiyo-e illustrations, and if we don't refer to these, the tradition of irezumi becomes diluted. If you are as good as Horiyoshi III, and start making your own original prints, that's great, but there are people who don't understand the basics, yet try to make their own original work and change it. I don't really like this, so I try and use ukiyo-e as my basis and not manipulate it too much." To me, this statement is key to establishing quality and responsibility within the art form, especially among non-Japanese tattooists whose "Hey, I'll just fake it" attitude has turned much of tattooing's historical context into a mishmash of guesswork and misguided technique. Adherence to the true forms and historical renderings is what sets the art of Horiyoshi III and his acolytes head and shoulders above the pack of tracing-paper wannabes. Horimasa is a significant exponent of this philosophy.

The ten-by-fourteen, two hundred and twenty-eight page glossy volume opens with a dramatic selection of full-page color work of traditional Japanese heroes, heroines and demons, transitions into a major section of complex line drawings, visually rewarding pen-and-ink renderings, humorous sketches, experiments in line and color and, finally, full-page samples of Horimasa's skillful tattoo work. All the graphics are large and cleanly executed. Devils, dragons, samurai and hanyas, along with sketchbook pages of hands, feet, monster claws, snakes, Foo Dogs and koi fish make this a must-have book for any serous tattooer or aficionado of the best in Japanese imagery.

In short, the book Horimasa is a banquet for the eyes, a treat for the historian and an inspiration for all who love the timeless, classic and tradition-bound art of irezumi as executed by a thrillingly talented, emerging artist who clearly has his goals, his technique and his integrity well in hand. The book may be ordered online at www.gominekopress.com, which, by the way, is an excellent site for discovering the many fabulous titles available from the publisher. It is also available through Amazon.com, Kinokuniya bookstores and tattoo supply companies worldwide. Hats off to Morey, Johnson and Okazaki for blending their consummate skills in the production of this truly remarkable and beautifully printed collection.

—Bob Baxter