I was carefully going over some of Horitoku's work. Very impressive shading. Like the work of a real master. It's hard to see or understand unless you have the eye for it. Very few people understand this work, they just throw around the words. I am hoping to travel to Japan to get some work done by end of next year. This year , my artist will return from Tokyo, and with his master for a tattoo convention later in fall. He promised to do additional work and finish up what he started. Tebori can be very costly. But tattoo also requires the ability to withold pain. It is hard to work on someone who is moving. I believe it is worth it. It is more attractive to me than taking a vacation. This artwork, especially for a foreigner like me- it is impossible to get done, of this quality and from such a famous low key and preserved artist family. I will scan in some of the work maybe to display it from the book I have. From San Francisco to Japan is not expensive. I have a friend in Kyoto. But all the costs of the work and then travel may add up. He asked me not to come there earlier, as he said he would be back. So I will wait. Planning on getting a full suit before the age of 30. After that the pain threshold increases. I am hoping to go to Japan though because his masters master may stop working soon. And to get work done by him is like...hmmm. well it is a big honor. Even the Japanese in Japan have very little understanding of this artwork. It goes back to the class distinctions. I still have some light reaction to the red which he had said was normal. One noticeable difference between machine and irezumi is that the latter kind of moves with the body, it has a very life-like feel. The ink used is purer. Sumi, is from Japan. It is not american tie-dye. But Yugi-San's work, is still very impressive , although I am going for all tebori from now on, and the same family.