These tones were developed and tested by Master Horitomo, with his experience in traditional Japanese tattooing, we were able to achieve the colours for a perfect Japanese tattoo composition
FUDO BLUE BLACK - MOEGI - KIKYO - ODO - FUDO BLUE GREY - WAKANAE - SHU - GUNJO - SAKURA - KOJI - BENGARA - SHINBASHI
This colour is a yellowish brown ochre tone reminesent of straw and the materials related to woodwork. I would also use these for the clothing of Fujin and Raijin. I like using it when I want a subtle colour tone.
This is a colour that has been used in Japan since the Heian Period (794-1192). In Kabuki Theatre, this is one of the three colours of the final closing curtain. It is a reserved and subtle green. I find it suitable for the base colour of dragons, Fujin, oni, the kimono of samurai, as well as the leaves of kiku (chrysanthemum) and botan (peony).
This light subtle green is based on the colour of young sprouted rice. It is suitable for Buddhist pieces, kimono patterns and the under side of leaves.
This reddish yellow is connected to Buddhism in Japan. I think it is a nice base colour for tigers as well as for metal pieces of samurai armor. This goes well with a bright yellow to give an old world ukiyo-e irezumi feel.
This colour is derived from the flower of the same name, Kikyo, and has been used since the Heian Era (794-1192). This bluish purple is very dignified and is suitable for the kimonos of samurai and oiran.
This reddish brown colour was popularized during the Edo Period (1603-1867). In Japanese irezumi this colour has been used for a very long time, since the days when colours were very limited. By using Bengara, Shu and my Sumi Set, you can invoke a very "old world" look and feel.
This colour exists between red and orange and is a classic colour of Japan. In Japanese irezumi this colour has been used for a very long time, since the days when colours were very limited. By using Shu, Bengara, and my Sumi Set, you can invoke a very "old world" look and feel.
This pink was created with the cherry blossom flower in mind. In old irezumi, Shu was used for these flowers, but this modern colour is more true to the actual colour of the iconic Japanese flower and has a softer feel. I also feel it is great for tennyo as well as for the eye shadow on woodblock print style women.
Towards the end of the Meiji Era (1868-1912) this colour was popular amongst the geisha of the Shinbashi district in Tokyo. It is a reserved but still bright, blue tone. Aside for its obvious use for kimono color, I feel it works great for yurei (ghosts) and yokai (supernatural creatures).
This colour is a deeper blue, similar to a toned down ultramarine. This colour has been associated with men's clothing for many years in Japan. I like using this for samurai clothing and armor.
Fudo Blue Black
This colour was based on the color of the body of Fudo Myo-o. In the Jyu-Kyu Kan text, the skin coloration of Fudo Myo-o is described as blue-black. While there are other colourations of Fudo Myo-o, this particular colour is inspired by that text and I feel is a good, strong colour for Fudo Myo-o.
Fudo Blue Grey
This colour is meant to be used with Fudo Blue Black. These two colours together can be used to create a powerful Fudo Myo-o. If you desire to create a bit lighter toned, brighter Fudo Myo-o, you can use Fudo Blue Grey as a base and fade it out with a 50-50 mix of Fudo Blue Grey and Solid White.