Anton Martiushev didn’t come up in a scene that made things easy. He started in a small Russian town where tattoo culture was almost nonexistent, and everything that followed was built step by step: traveling, learning, failing, adjusting, and pushing forward. Today his work sits firmly in dark Black and Grey realism, heavy on mood, contrast… with a style that’s instantly recognizable without needing to shout.
In this interview, Anton share about what it’s really like to move between countries, tattoo cultures, and expectations… From working in Europe to navigating the pressure and pace of the U.S. scene… He breaks down how he approaches realism beyond technical execution, focusing on composition, flow, and making tattoos that hold up years down the line, not just on Instagram the week they’re done.
How would you like to introduce yourself, and where can people find you?
My name is Anton Martiushev, I’m a tattoo artist originally from a small town in Russia, now based in Los Angeles, California. I specialize in dark, realistic black and grey style. My clients can find me in Los Angeles and at various conventions and guest spots around the world.
How would you describe the tattoo scene around you these days?
I feel like I’ve lived through two different worlds. In the small Russian town where I started, there was almost no tattoo culture – no real studios, no mentors, very underground. Later, in Saint Petersburg, the scene became much more serious and artistic. Now in Los Angeles, it’s something else again: the level is very high, there are many strong artists and a lot of competition, which is great because it pushes you to grow and bring something new instead of repeating yourself.
How did your family react when you chose tattooing as a career?
Like many families, they were skeptical at first. Tattooing didn’t look like a “real profession,” especially where I’m from. But over time, when they saw how serious I was, how much work and discipline it takes, and later when they saw me traveling, judging conventions and working in Los Angeles, their attitude changed. Now they support me and are proud of what I do.
Do you usually do guest spots? What’s that experience like for you?
Yes, I travel for guest spots and conventions quite often. Right now I’m mainly working across the United States, doing projects in different states as well as in my home base, Los Angeles. Each city has its own energy and type of clients, and it’s inspiring to see how people from different backgrounds respond to dark, story-driven tattoos.
As a tattoo artist, what does your daily routine look like?
My days are a mix of art, planning and taking care of myself. I usually start with the gym – it helps me stay focused and physically ready for long sessions. Then I work on designs for upcoming appointments, building storylines for sleeves and large projects. I also spend time developing my book about using AI in the tattoo industry, and working on my handmade Japanese masks. Those masks are an important part of my routine now – many tattoo artists use photos of my masks as references for their own designs, which creates a nice bridge between my 3D work and tattooing.
What’s one surprising or misunderstood aspect of being a tattoo artist today? What’s the most rewarding part for you?
People often think being a tattoo artist is just “drawing on skin,” but in reality it’s a lot of preparation, problem-solving and responsibility. You have to plan compositions, manage schedules, communicate clearly, and stay sharp for every client.
At the same time, it’s a very free profession. For me, being a tattoo artist means having the freedom to travel, work in different states and cities, meet interesting people and see how your work lives on real bodies around the world. The most rewarding part is when clients trust me with big, meaningful projects and later send photos years after, or when organizers use my masks as prizes at conventions – that’s when I really feel the impact of what I do.
What tools and machines do you prefer to use?
I work with EZ tattoo machines – they’re reliable for the kind of realistic, dark work I do. My favorite ink is Allegory Ink; they support me as a sponsor and their black works perfectly for my style. I’m also starting a collaboration with sponsors in the cartridge field.
How would you define your current tattoo style, and how did you end up focusing on it?
I work in black and grey realism with a darker, cinematic mood. From the beginning I loved copying photos as realistically as possible – faces, hands, textures, light and shadow – and that became the foundation of my style. Over time it evolved into darker, “mystery” pieces with Japanese masks, religious and mythological elements and strong contrasts.
Please walk us through your process when you start a new tattoo. How do you balance client requests with your artistic vision?
For me a good design is always a combination of the client’s idea and the artist’s experience. First I listen carefully to what the client wants – the story, symbols, mood. Then I start building a composition that works on the body: flow, contrast, focal points. I use references, including sometimes my own sculptural masks, but I don’t just copy one picture – I combine elements to create a unique image that fits the anatomy. The balance is simple: The client gives me the direction, and I use my experience to make it strong visually and technically. Trust is the most important part. When clients trust my vision, I can push the design further and the final result is always better.
How do you stay creatively inspired?
I get inspiration from everything around me: nature, movies, architecture, religious art, Japanese culture, even small details in everyday life. I like to find inspiration where most people don’t see it – in cracks, textures, old objects, interesting faces. Working on my handmade Japanese masks also keeps my creativity alive, because I can think in 3D and then bring that same feeling back into my tattoo work.
Do you like to teach or mentor upcoming artists?
Yes, I do. I’m currently planning my own educational program for tattoo artists – both beginners and working professionals. I’m still in the development phase because I want it to be a high-quality, well-structured product, not something rushed. My idea is to start with offline teaching, where I can really work with people in person, and later it may grow into an online format with real feedback. We’ll see how it evolves, but sharing knowledge is definitely something I want to do more.
What’s your view on the rise of AI in tattooing?
I don’t see AI as an enemy; I see it as a tool. It doesn’t replace the artist, but it can help with idea generation, composition and exploring variations much faster – if you know how to use it correctly. That’s why I decided to write a book about AI in tattooing, to show other artists how to integrate it into their workflow in a smart way instead of being afraid of it or misusing it.
Do you work on other projects within the tattoo industry? What would you change about the scene if you could?
Yes, I do. I work with conventions as a sponsor, providing my handmade Japanese masks as awards. I think artists deserve high-quality, meaningful prizes for what they create during a convention, not just generic trophies, so this is my way to give something back to the industry.
Do you do other forms of art besides tattooing?
Yes, I create large Japanese-inspired masks by hand – hannya, geisha, tengu and others. They started as an independent art project, but now they are also used as references by tattoo artists, and as prizes at conventions. So my work lives in different formats: on skin, on walls and on stage as awards.
Who do you admire most within the tattoo community?
I don’t really have one “idol.” I’m inspired by many different artists for different reasons – composition, technical level, storytelling – but I try not to focus too much on specific names. My main goal is to grow my own style and vision instead of comparing myself to others all the time.
What’s your experience at tattoo conventions so far? What’s your main reason to attend?
I’ve been going to tattoo conventions for many years – both before moving to the U.S. and now here in America. For me, conventions are about three things: creating strong, memorable pieces in a short time, connecting with other artists, and staying visible in the industry. I try to always bring something interesting to the show – a large piece with an unusual storyline, strong contrast and details that will stand out on stage. I don’t want to just “fill a spot,” I want the work to leave an impression.
Have you taken part in contests? Any awards you’d like to mention?
Yes, competitions are a big part of my convention life. I regularly place in contests – often in “Best of Show,” and at my last two conventions I won awards for “Best Collaboration” with my friends Hugo and Nikita. Those moments are very special because they show what can happen when strong artists combine their styles and push each other.
You’re also a judge and sponsor at conventions, right?
Yes. I’m often invited as a judge at tattoo conventions, which is a huge honor for me. I take judging very seriously and try to evaluate work professionally and fairly, because I know how much effort goes into each piece. On top of that, I’m also involved as a sponsor: my handmade Japanese masks are used as special prizes for the winners. I come to the events not only to work and judge, but also to personally bring the awards and hand them to the artists.
Would you please share us more about it?
Yes, I’m regularly invited to judge at tattoo conventions in different countries. Some of the events I’ve had the honor to judge include:
- Marmaris Tattoo Festival – Marmaris, Turkey
September 30 – October 2, 2022 – Judge in the Neotraditional category. - Israel Tattoo Convention – Tel Aviv, Israel
May 19–20, 2023 – Judge in Best Small Tattoo, Best Color Tattoo, and Best Black & Grey Tattoo. - Epinal Tattoo Show – Épinal, France
June 16–18, 2023 – Judge in Best of Day. - Austin Tattoo Invitational – Austin, Texas, USA
August 30 – September 1, 2024 – Judge in Best of Day. - The New York Tattoo Convention – New York, USA
October 18–20, 2024 – Judge in Best Black & Grey Tattoo. - Golden State Tattoo Expo – California, USA
September 20–22, 2024 – Judge in Best Black & Grey. - The New York Tattoo Convention – New York, USA
November 7–9, 2025 – Judge in Best Color
Being invited to judge at these events, and to see my masks used as awards, is a big honor and a strong motivation to keep pushing my work forward.
Was there any event that really boosted your career?
I wouldn’t say it was just one event – it’s more like a chain. Winning “Best of Show,” doing strong collaborations, being invited to judge, and seeing my masks on stage as awards – all of that together helped to build my name internationally and pushed me to grow even more.
What is your greatest accomplishment as a tattoo artist so far?
For me it’s not just one thing, but a combination: moving from a small town in Russia to building a career in Los Angeles, working across the U.S., being invited as a judge at major conventions, winning awards, and seeing my handmade masks used as special prizes on stage. Also, when people tell me they recognized my work instantly – just from one dark, “mystery” piece – that recognition of my personal style feels like a big accomplishment too.
What advice would you offer to someone considering a career as a tattoo artist?
Be prepared to work a lot and be patient. Practice constantly, focus on fundamentals like drawing, light and anatomy, and don’t try to skip steps just to get attention on social media. Respect your clients and respect the craft. And most importantly, don’t give up too early – progress in tattooing comes from thousands of hours, not from one “magic” moment.
To close this interview, what’s your last message to our readers?
Always go all the way with what you do. Practice, stay curious, and don’t stop when it gets difficult. Believe in yourself even when others don’t see the full picture yet. If you keep working and stay honest with your art, things will eventually move in the right direction
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