Today, we had an in-depth conversation with the driving force behind Kintaro Publishing: André van Zomeren! Andre’ is a refined and extremely knowledgeable tattoo enthusiast, bridging the gap between art and tattoo culture with his unique collection of tattoo publications.
Hello André, for readers who are not familiar with you, how would you introduce yourself?
My name is André van Zomeren, and I’m the founder and owner of Kintaro Publishing. I’m a tattoo enthusiast and collector, deeply interested in art in its broadest sense. I love traveling, spending time in nature, and I’m an active sportsman in my free time.
What inspired you to create Kintaro Publishing, and why did you choose to focus on tattooing?
I used to work at music festivals, bike shows, and tattoo conventions with my former partner, who was already in this line of work when we got together. We traveled across Europe, selling merchandise at these events. Over time, things expanded, and we started sourcing most of our merchandise from Thailand, which meant frequent trips to Asia. While I loved the lifestyle—the traveling, the freedom, and the lack of a 9-to-5 routine—the merchandise trade wasn’t 100% my passion. I started thinking about what could give me the same freedom, align with my interests, and fit into a world I enjoyed being part of. Initially, I had the idea of publishing just one book, but as I delved into it, I discovered that there weren’t many publishers specializing solely in tattoo books. I got lucky when the former director of the Amsterdam Tropenmuseum connected me with their printer, someone he highly praised. Working with them gave me the confidence that, from the very first publication, I could deliver high-quality books.
How did you come up with the name Kintaro Publishing?
I’ve always had a personal preference for Japan and its culture. The legend of Kintaro is a cornerstone of Japanese folklore. Kintaro, also known as the Golden Boy, is a child with superhuman strength who fought monsters and demons. I interpreted this as a symbol of being lucky, which resonated with me. Plus, I think the name sounds good.
Kintaro Publishing distributes third-party books and publishes your own titles. How do these third-party books impact your overall sales?
Are you referring to sales from third-party books? They contribute significantly to overall sales. Ideally, I’d prefer to only sell books we publish ourselves, but building a comprehensive catalog takes time. Offering a broader selection is more appealing to consumers, as I discovered in the early days of Kintaro. When we had just one book—about Dutch tattoo studios—it was a niche market. I remember refreshing my inbox repeatedly, hoping for orders, but they didn’t come in as frequently as I’d hoped.
How would you describe Kintaro Publishing’s mission in the tattoo industry?
To create the most beautiful books possible. It all starts with selecting exceptional content. Mediocre work will never make a quality book, no matter how well it’s packaged. We pay a lot of attention to materials—paper types, cover materials, and added features. Modern production techniques offer incredible possibilities, though they often come at a cost. I aim to showcase what’s possible in book production. While certain choices might be financially impractical, I’ll never compromise on production quality or the high standards we strive for.
Honestly, I believe we publish the best tattoo books out there. That might sound arrogant, but I know how much care our entire team puts into each project.
What is your favorite book from your collection?
The right answer is probably, “the next one we’ll publish,” because experience and knowledge should lead to better work over time. I love all our books—they each have their own story, much like tattoos. If I had to choose, though, it would be the first Scrolls book by Horiyoshi III. Not only is his work exceptional, but the entire experience of creating that book was unique. From meeting him and pitching our vision to photographing the scroll paintings in Japan—it was all very special. The book itself is monumental, with giant foldout pages almost 1:1 in size with the original scrolls. It’s likely the largest tattoo book ever made. We faced challenges, especially since it was our first time working with a printer in China. The language barrier and communication weren’t always smooth. Plus, COVID hit during production, causing delays. But when we finally received the books, it was overwhelming. I’m really proud of what we achieved.
How do you choose the artists or authors for your books?
Luckily, most of them approach me with their ideas—hence the name Kintaro again, Golden Boy, haha. In the past, I tried to create projects involving multiple artists, but it’s tough to coordinate and get everyone on the same page—especially with deadlines, which tattoo artists famously struggle to stick to, haha.
Can you explain the process of developing a tattoo book from start to finish?
The process varies from book to book, but generally, once the artwork or content is received, we develop a concept. Our designer creates a layout based on input from the artist, like their favorite books or styles. I encourage creative freedom, so I rarely impose strict guidelines unless I have a specific idea. Once the artist is happy with the concept, we select materials, papers, and colors. Sometimes we create a dummy book to test the handling and dimensions. Next, we do test prints, make adjustments, and finalize everything. When it’s ready to print, I like to be present during the process to oversee color management and ensure the original works are accurately represented. Our printer is highly skilled and based in the Netherlands, making communication easy.
What was the first tattoo book published by Kintaro, and how was it received?
The first book was Dutch Tattoo Studios, featuring 30 selected tattoo studios in the Netherlands. The artists featured in the book appreciated the exposure, but other studios not mentioned in the book dismissed it as worthless. After nearly 15 years, though, it’s almost sold out—so there’s that, haha.
What’s the most challenging aspect of publishing a new book?
The uncertainty of whether it will sell. I don’t like focusing on the commercial side of things, but experience has taught me that I have to. We pre-finance all our books and only publish projects we believe in. Even then, it’s hard to predict how they’ll be received.
What do you love most about your job?
The entire process of creating a book, from the first presentation to finally holding the finished product in your hands. The smell of a new book and seeing the result of your hard work is an amazing feeling. I also love the international aspect of this job. My day might start with a video call in Japan and end with messages from someone in the USA. I feel privileged to do this.
What’s the most challenging aspect of selling books in the age of social media?
I don’t see it as a challenge but as an opportunity. Social media allows you to reach so many people—it’s incredible. The real challenge is standing out and making an impression that resonates with people.
What types of tattoo themes are most popular in your books?
I’d say Japanese-inspired themes are the most popular. Why? Perhaps because of my own preference, the name “Kintaro,” or the artists we collaborate with. These factors naturally influence how people perceive us and how they feel connected to us, thinking, “Maybe my project could also fit here.”
Why are physical tattoo books still relevant today?
A physical book is an entirely different medium compared to digital work. It’s something tangible, created by a driven team that brings it to life. A book provides a unique vibe as you flip through its pages, allowing you to absorb information differently—slower and perhaps more deeply. It’s a pleasant experience for the brain.
A book also has a soul, much like how listening to vinyl records feels different from streaming music on autoplay. Browsing your vinyl collection is intentional, and the physical presence of the medium communicates something special. This sensory experience of a book is incredibly important and worth preserving.
Which one of your books has been the most successful so far?
Without a doubt, Japanese Flora Vol. 1 by Sören Sangkuhl. From day one, when it was launched in 2008, it became an instant bestseller. Sören’s dedication and unique skills in explaining the drawing process were groundbreaking, making this book popular not just within the tattoo community but also among textile designers, interior decorators, art students, and art lovers. Apart from the stunning flower studies, the book also includes technical pages that serve as a manual for drawing the different flowers. The combination of exceptional content and Sören’s ability to break down the creative process makes Japanese Flora truly unique.
What is your latest book, and what can you tell us about it?
In January 2025, the long-awaited sequel to Japanese Flora will be launched: Japanese Flora Vol. 2. Sören spent over 700 hours creating this masterpiece, which includes even more stunning floral illustrations and insights from his years of artistry. The book has nine chapters filled with detailed flower studies, technical tutorials, and iconic Japanese family crests. I’m confident this will inspire many people and become another bestseller in the making.
What advice would you give tattoo artists who want to publish their own book?
Make your work complete before pitching the idea to us—and definitely don’t try to do it all yourself. I firmly believe that creative individuals should focus on creative tasks. Publishing a book is about more than just printing your work and holding the first 50 copies in your hands. While that may be exciting, I often wonder about the reasoning behind self-publishing, especially if it’s purely for financial gain. The process of creating a high-quality book involves much more than printing—it requires expertise, dedication, and proper distribution to reach a global audience. It’s similar to music—when a record label believes in your work, it adds value and credibility. The same applies to publishing. A passionate team can take a project to levels you couldn’t achieve alone.
Who are the tattoo artists you admire the most?
Over the years, there have been so many, and the list keeps growing. I prefer not to mention specific names because I’d risk leaving some out, but in general, I admire artists who are dedicated to their craft, work hard, and remain humble. I’m inspired by regular people who follow their passion, embrace artistic freedom, and enjoy being their own boss.
What’s the best piece of advice you’ve received for running Kintaro successfully?
Early in my career, I was fortunate to meet two different people—who didn’t know each other—yet shared similar advice: “Keep it small.” Both had large companies with many employees, and they told me they spent more time managing and solving problems than enjoying the creative aspects of their work. That stuck with me and has been a guiding principle ever since.
Kintaro has participated in many tattoo conventions worldwide. What’s the most valuable aspect of these conventions in your marketing strategy?
First of all, I enjoy attending conventions. The travel aspect and the freedom I seek in life come together here, making it a fantastic experience. The most valuable part of conventions is getting direct feedback. People pick up the books, flip through them, and share their thoughts directly with us—or with their friends, and we overhear it. This feedback is incredibly valuable. Conventions also allow us to showcase the books properly. No matter how great your product photography is online, it doesn’t compare to seeing a book in person. Conventions also give us opportunities to connect with people who have ideas for books and discuss how the publishing process works. The face-to-face interactions make things move faster than email conversations.
Which are your favorite tattoo conventions?
At the moment, I would say Paris and Aachen, each for a different reason. The Paris Convention, organized by Tin-Tin and his team, is on a world-class level—a truly professional event. The venue itself is stunning, with so much character, making it a unique experience. On the other hand, the Aachen Convention, led by Andreas and his team, is relatively small-scale, which makes it intimate and personal. It features a select group of artists, all of exceptionally high quality. It’s a convention for true enthusiasts.
What are the biggest trends you have noticed in tattooing over the last 5–10 years?
Accessibility. Tattooing has become much more open, with easy access to all kinds of information, materials, and styles.
What do you think will be the next big thing in the world of tattooing?
It’s hard to predict, but I’m optimistic about the direction tattooing is heading. The accessibility and openness we see today have brought in fresh energy, diverse styles, and incredible talent, making the craft richer than ever. My hope is that tattooing continues to evolve while staying rooted in quality, creativity, and respect for its artistry. As the industry grows, it’s essential to balance innovation with the professionalism and care that make tattooing such a meaningful and unique art form.
What are your plans for 2025?
We have several exciting book projects in the works. Hopefully, everything goes according to plan, and throughout the year, we can showcase the beauty and creativity that comes with each project.
Is there anything else you would like to say to our readers?
As a final note, I want to express my gratitude to everyone who supports Kintaro Publishing and the incredible artists we have the privilege of working with. It’s been an amazing journey, and I feel fortunate to share it with you. I would also like to share a bit about the structure of Kintaro Publishing and how it has evolved. When I first started, I always had the idea that in order to be taken seriously, it was better to give the impression that Kintaro was a larger company with many people working behind it. Over time, I realized that while the idea of Kintaro being a bigger business created certain expectations. In reality, Kintaro is a one-person operation. Over the years, we’ve built a strong structure, and I work with an exceptionally talented group of freelancers. While it can be challenging at times, I feel incredibly fortunate to be able to do this work. Thank you for taking the time to read this all the way through. I truly appreciate your time and interest. Your support means everything to me and the team, and together, we continue to inspire and push the boundaries of tattoo artistry. Thank you!
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