I was born and grew up in Volzhsk — a small town about a thousand kilometers east of Moscow, near Kazan, population around 50,000. It has no real foundation for a successful life — it's essentially a factory town, built around a pulp-and-paper mill.

I've loved drawing for as long as I can remember — it ran in the family in a small way: my parents, grandparents, and relatives all drew a little, and as a kid I was genuinely decent at it. That's why I was sent to art school in second grade — but I quickly got bored of drawing assigned objects, a vase or an apple, and preferred playing outside with friends; I graduated with barely-passing grades.

The real turning point came in 2007, 6th grade: I got a computer and played a video game about a graffiti writer — and that same day, my friends and I bought spray paint and started tagging building facades. When local residents started complaining, my friends' parents made them quit, but I kept going alone. The nearest shop that sold the paint I needed was in another city — 70 to 80 kilometers away — and I'd travel there secretly, without my parents knowing, as a minor. What kept me going was a kind of thrill, and the fact that I was doing something nobody else around me was doing — plus, like any teenager, I wanted to stand out.

There was no formal graffiti training to speak of — at the time, there was simply no information about it anywhere in the Russian-language internet. Even the very first Russian graffiti artists were working purely by instinct — the only thing available was photos of finished pieces from around the world, with zero explanation of technique. Everything had to be figured out from scratch, alone.

Around 2010-2011 I saw a video by Dutch calligrapher Niels "Shoe" Meulman, and it was a genuine shock: in about half a minute, with just a few strokes, he'd have a massive letter up on a wall. In graffiti, I'd spend three and a half hours painstakingly spraying a single letter — here it was the opposite: one gesture, one flow, expressing a whole form purely through the skill of your hand. I dove headfirst into calligraphy.

In 2013, I got into an architecture and design university — admission was brutally competitive, and I scraped in near the very bottom of the list. To get in, I had to set aside my calligraphy and graffiti ambitions for a few years and focus entirely on the entrance exams.

It was there, at university, that the next turning point happened: a friend of mine who did tattoo work opened her own tattoo studio and asked me to design a logo for it. She couldn't pay in cash, so we settled it with a tattoo instead — I got my first-ever tattoo, done from my own design. People liked how it looked on me, and I started drawing designs for various friends and acquaintances. But when I saw how other artists executed those designs on skin, it genuinely upset me — the result didn't match what I'd envisioned. At some point I decided I'd had enough, and went to learn the craft myself, so I could bring my own designs to life properly. That's how I got into tattooing. It's been part of my life since 2015, and today I live and work in Düsseldorf, Germany.

In short, I work in the areas of "lettering" and "ornamental".

I am inspired by completely different cultures of fonts and ornaments: Gothic, Slavic, Arabic, Japanese, etc. In our multicultural world, there are a lot of different meanings within different symbols. And I really like to integrate these multicultural features into my writing style. Many of my clients, who have been following my work for years, notice this development. This is one of the reasons why clients trust me with their bodies to create tattoos.

My projects are based on inscriptions. I've always enjoyed working with letters and text. I have always loved to draw something non-standard, abstract, but at the same time I always wanted these abstractions to carry some kind of meaning. That's how I came to my own individual visual style. I work only in my own style of writing - each of the lettering artists has their own unique handwriting. Copying this handwriting is just senseless and stupid.

In some cases, I just make an ornament without any meaning - for example, when the client does not want to integrate any text or when it is necessary to dilute the overall text composition with something. But in any case, these ornaments are made in my style.

In my works, I very often try to emphasize human anatomy with the help of letter lines, their directions, dynamics of font composition, etc. Unfortunately, this cannot be done without the presence of the client. Only when the person is in front of me can I do the work that is perfectly embedded in the client's body. And for this reason, I draw a sketch only on the client's body immediately during the session.

To me, art is first and foremost about a recognizable personal handwriting, not about a specific material I happen to be working on. I think of myself as an artist first, and a tattoo artist second — tattooing is one canvas among several, alongside walls, cars, and clothing; it just happens to take up the most of my time.

My style grew out of a few things coming together. Graffiti gave me energy and dynamism — an approach of light rebellion, unconventional, bold behavior, not just in life but in the approach to art itself. Academic drawing, which I spent years on at university, gave me a strong sense of construction — the ability to build any piece through structure and grids, often drawn by hand. That's exactly where my precise understanding of anatomy comes from: how to lay a composition onto the body, how to map it out. Calligraphy gave me freedom — my own visual language.

From there, style got shaped by specific decisions. The first time I did a color piece, I realized I wanted multi-layered projects — flat compositions of letters on a solid background felt too thin. And when I moved to Germany, I nearly stopped working in color altogether — there's a clear market demand here specifically for black tattoos and black-and-gray work.

A good example of how I actually build a piece onto the body is my very first sleeve. I had no sleeve portfolio at all at that point, so I practiced sketching it directly on myself — drawing on my own arm with a marker, not tattooing it, just testing how different calligraphic strokes, abstract shapes, and letters wrapped around an arm. I was running the style through my own anatomy, to understand how I wanted to see it in three dimensions, on a living body, not just on paper.

In practice, I work in five directions. Lettering — a classic composition of script and text with decorative accents, adapted to the body's anatomy. Ornamental — purely calligraphic, rhythmically repeating elements with no literal meaning, built along the body's own axes. Abstraction — no letters or text at all, but directly inspired by lettering, with the composition working well on its own. Character/object — the same handwriting, shaped into the outline of a specific object or creature. And Mix — freely combining any of the above in one project.

I've been doing tattoos for more than 10 years now. I started getting into tattoos because I liked seeing my creativity out in public. I've always worked from my own sketches, and for most of that time I've worked freehand — I draw the sketch directly on the client's body, based on their muscles and anatomy. I believe it's impossible to prepare a design for someone I haven't met yet, before the session itself.

Everything starts with the booking form on this page — it's the fastest way for both of us. You tell me your idea, the placement you're thinking of, style, and your availability in one go, and I get everything I need to come back to you with a clear answer, instead of a slow back-and-forth over email or Instagram.

When it comes to the idea itself, there are a few ways to go:

• Describe your own idea in the form.
• Point me to a specific detail from my finished work that caught your eye — and where on that piece — even if you're not after that exact tattoo. You don't need to reference an existing piece at all; we can design something completely new around what you liked about it.
• If you don't have a clear idea yet, that's fine too — we can figure it out together, usually starting from placement, color, mood, and meaning.

Once we've talked through the idea, I'll be able to tell you the approximate number of sessions and the cost of each one. I can't always give you an exact number of sessions, because it depends on:

• how well you tolerate pain,
• how your tattoo heals (a correction may be needed if healing doesn't go well),
• your body's condition, skin included,
• and the size of the area — a small woman's arm and a two-meter guy's arm can look very different in size, even for the same "sleeve."

What I can say for sure: the cost of my working day is fixed. Even if my rates go up for others, yours stays the same as what we agreed on, until your project is finished. This also cuts both ways — if your project only ends up needing 4 hours instead of a full day, it's still billed as a full day, since the cost is tied to the day, not to the hours actually used.

My working day is usually 6 hours, sketching and tattooing included. I only take one client per day. For a large project — a full sleeve, for example — the entire first session can go into just the sketch and the outline, with the coloring or shading starting the session after.

Sometimes there's only a couple of hours left over — too little for a full extra session — or a client wants to move faster. In those cases, by mutual agreement, we can make a session longer. The cost of any extra hour is a bit higher than a regular session hour, and we always agree on it together beforehand.

Once we've settled on the idea and the cost, we pick session dates around both our schedules. Booking the date itself is a separate paid service. The moment we agree on a date and you make the payment, that service is considered complete: a 200€ fee, through PayPal, card transfer, or bank transfer/IBAN to my business account. If the session takes place, this amount is deducted from what you pay at the end of that session. If you cancel or reschedule, it isn't refunded — the booking itself already happened.

Before the session, I recommend:

• getting a good night's sleep,
• eating well,
• skipping coffee, energy drinks, and alcohol,
• starting to moisturize the skin where the tattoo will go a few days beforehand,
• bringing a change of clothes you don't mind getting ink or ointment on, ideally dark, to change into at the studio — and picking that change of clothes based on the area we're working on, so I have easy access without you needing to keep adjusting things mid-session. For example: for a hip or side piece, a swimsuit or bikini with straps that untie works well; for a leg piece, bring shorts; for an arm piece, bring a sleeveless top.

I usually spend the first few hours drawing the design or part of it — the sketch can still be discussed and adjusted based on what you want. Once we've approved the sketch, I do the outline, and we spend the rest of the time filling in the rest of your tattoo.

This kind of session plan usually keeps things calm and systematic, and makes the whole session easier for you to sit through. In some cases, after we've discussed it, I can use a numbing cream — though it may make the tattoo heal a bit worse, and can add to the session time (or the number of sessions). Numbing cream is included in the session price. Depending on the location, I may also provide a free healing kit, plus food and drinks during the session.

How much time we book together also affects how much detail I can put into each part of the tattoo — the more time we set aside, the more refined the result can be. And I can't control how your tattoo heals afterward — that's down to your body and how you take care of it. For that reason, any correction needed after the project is finished is billed separately, no matter what caused it.

Either way, I'll help you get the best tattoo possible, as comfortably as possible. The choice is yours.

Thanks to my sporting past, I really like competitions. Competitions stimulate you to get better and develop faster. That's why I participated in all the tattoo conventions I could participate in. And in each of them I took a prize, and sometimes several prizes, regardless of the number of participants. At some point, I got bored of participating in Russian tattoo conventions, because I took the first places from absolutely all conventions) Therefore, I was offered to participate as a judge. I even sued a few conventions, but this is even more boring) That's why I really wanted to go to other countries to compete outside of Russia.

• 1st place - The Best Lettering Tattoo - 18 Moscow Tattoo Festival, 17 April 2021
• 1st place - The Best Lettering Tattoo - 9 Tattoo Fest Sochi, 23 April 2021
• 3rd place - The Best Lettering Tattoo - 9 Tattoo Fest Sochi, 23 April 2021
• 1st place - The Best Lettering Tattoo - 11 Moscow Tattoo Convention, 29 May 2021
• 1st place - The Best Lettering Tattoo - Saint-Petersburg Tattoo Show, 18 September 2021
• 3rd place - The Best Lettering Tattoo - Saint-Petersburg Tattoo Show, 18 September 2021
• 3rd place - The Best Lettering Tattoo - 20 Moscow Tattoo Festival, 15 April 2023
• 3rd place - Super Skin Tattoo - 20 Moscow Tattoo Festival, 16 April 2023
• 1st place - The Best Lettering Tattoo - Saint-Petersburg Tattoo Festival, 17 June 2023
• 3rd place - The Best Of Day Black&Gray - Saint-Petersburg Tattoo Festival, 18 June 2023

To keep your tattoo as beautiful as on the first day, I have gathered some aftercare tips for you here.

In the first hours after your appointment, a mixture of wound water, excess color and blood will come out of the tattoo.
Don't worry: This is completely normal. After all, it is a superficial wound to which your body reacts accordingly.
If the tattooed body part swells strongly (e.g. foot, calf, inner arm) do not be alarmed, this can happen
and will automatically disappear after a few days.

Basically, first 2-3 weeks after tattooing:

• No sauna
• No sun
• No solarium
• No chlorinated water/sea water
• No full baths
• Sports only with restrictions!
  

Care with a self-adhesive bandage:
I have covered your tattoo with a self-adhesive bandage that will protect your tattoo for the next 3-5 days.
It helps the skin to regenerate quickly and also protects your fresh tattoo from external influences.
Important: Depending on the size of the tattoo and the wound healing process of your own body, it can happen,
that your body releases more wound water and plasma to close the wound.
This then gathers under the bandage and may not be broken down quickly enough.
If this is the case, you will probably not be able to recognize your tattoo under the film the next morning.
Please don't worry: as soon as you remove the film and clean your tattoo thoroughly
it will look as beautiful as you remember it from the appointment.

If the bandage has loosened so much that the tattoo already draws air, remove the film completely and heal the tattoo with pads (next instruction).
Your tattoo will not heal better or worse because of this - the bandage should only relieve you of some of the care in the first period.
If bubbles form, please do not pierce the bandage, otherwise germs can get into the wound.

After 3-5 days you can carefully remove the bandage. This works best under warm water.
Pull carefully on one of the corners of the bandage and remove the film little by little from your tattoo.
Please do not pull the film off with a quick movement in the opposite direction, as you would do with a band-aid.
Afterwards, wash your tattoo carefully with lukewarm water and dab it dry with kitchen paper.
After drying, leave your tattoo in the air for some time so that the skin can acclimatize.
After that, you can regularly apply a thin layer of skin cream.

Your tattoo needs about 4-6 weeks to heal completely.
The skin, as your largest organ, unfortunately does not behave like a sheet of paper.
Therefore, it can happen that lines heal differently thick or thin,
a colored area heals in spots or even smaller parts of the tattoo disappear completely during healing.

To keep your tattoo as beautiful as on the first day, I have gathered some aftercare tips for you here.

In the first hours after your appointment, a mixture of wound water, excess color and blood will come out of the tattoo.
Don't worry: This is completely normal. After all, it is a superficial wound to which your body reacts accordingly.
If the tattooed body part swells strongly (e.g. foot, calf, inner arm) do not be alarmed, this can happen
and will automatically disappear after a few days.

Basically, first 2-3 weeks after tattooing:

• No sauna
• No sun
• No solarium
• No chlorinated water/sea water
• No full baths
• Sports only with restrictions!
  

Aftercare with pads:
For the care of your tattoo, you will need baby wrap pads and a wound and healing ointment containing panthenol.
You can get baby wrap pads at any well-stocked drugstore near the diapers.
I have already covered your tattoo with one of our pads. You should remove this today before sleep.

Wash your tattoo carefully with lukewarm water and dab it dry with kitchen paper.
Please do not use a towel to dry the tattoo, otherwise lint could get into the fresh tattoo.
If you have a ph-neutral soap or a mild washing gel at home, you can also clean your tattoo carefully with it.
After drying your tattoo, leave it uncovered for some time so that the skin can acclimatize.
Afterwards, you should apply a thick layer of ointment containing panthenol to your tattoo and cover it with the paper side of the baby wrap pad.
Repeat this procedure daily 2 times in day for the next 3-5 days.
Make sure the baby wrap pad is only minimally larger than the tattoo and secure it with tape or band-aids.
The baby wrap pad will keep your tattoo dry by absorbing the wound fluid. In addition, your tattoo is protected from friction and sunlight.

After the first 3-5 days, you don't need to cover the tattoo and only apply a thin layer of cream if necessary.
There is no rule how often you should apply cream to your tattoo.
Nobody knows your body better than you.
If you have rather dry skin, you will probably have to apply cream more often.
If your skin is well moisturized, you will need to apply less.
The only purpose of applying cream is to support healing and prevent scarring.

Your tattoo needs about 4-6 weeks to heal completely.
The skin, as your largest organ, unfortunately does not behave like a sheet of paper.
Therefore, it can happen that lines heal differently thick or thin,
a colored area heals in spots or even smaller parts of the tattoo disappear completely during healing.