The outlaw hero Namikiri Chojun, depicted in Japanese Ukiyo-e (the “Suikoden” series), was initially inspired by the Chinese novel “Water Margin.”

Ask him why he uses the alias “Goodmorning,” and he explains that it’s uplifting. His positive outlook extends to his tattoo appointments—does he pair it with tea or coffee?

For this Singaporean, Goodmorning’s recognition in the arts came slowly. After being rejected by two art colleges, he shifted away from his dream of teaching. However, tattooing, which he began in 2012, allowed him to stay connected to his artistic side.

He prefers bold, stylized tattoo designs that last longer and uses red, black, gray, and sometimes white ink. Drawing on Japanese tradition, Goodmorning creates Kame-no-Kou (“tortoise shell”) works that cover the back and buttocks and often extend down the thighs. For instance, he spent nearly 70 hours on the tattoo above for a larger-built client. In addition, he develops main subjects—dragons or snakes—without backgrounds (in the Nukibori style).

To explore more of his work, scroll down for samples. Beyond visual examples, you can also learn about his stencil-versus-freehand percentages, as well as his tattoo inspirations.

Peace, prosperity, and long life are the qualities that the crane represents.

Did you get a formal apprenticeship in Japanese tattooing, or are you self-taught?

I’m self-taught because the studio I wanted to join charged an apprenticeship fee, and I didn’t have the money at the time. My first machine was introduced to me by artist Donald Ink, who did my first tattoo and also gave me advice on a tattoo machine. He was introduced to me by my high-school friend, who got his tattoo from him. That connection kick-started my tattoo journey. After a year of being self-taught, I joined Odd Tattooer, who was introduced to me by a friend when he opened his studio. Another year later, when I realized I wanted to dive deeper into Japanese tattooing, I joined Nicckuhori, my master specializing in the art, for further learning.

The role of the dragon (Ryu) is mostly that of a benevolent guardian, bestowing wisdom, strength, safety, and luck.

What are some of the key teachings regarding longevity in a career and life that Nicckuhori taught you?

When I stepped into Nicckuhori’s studio, everything was quiet—no rushing, no shortcuts, no ego. Just focus. Watching him work, I realized that tattooing wasn’t simply about creating a beautiful design; it was a discipline. To him, the human body wasn’t a surface—it was a landscape. He showed me how a composition should flow with muscles, move with breath, and wrap around the body as if it were meant to be there. No matter how skilled you think you are, there is always more to learn. Watching him work reminded me that mastery isn’t a destination—it’s a lifelong path. What I learned from him wasn’t just technique. It was discipline, intention, and the quiet pride of doing things the right way—even when no one is watching.

A wide range of subjects, from a dragon to Hannya mask. Hikae, or panels across the chest, and Shichibu, or three-quarter sleeves.

Who are some of your prominent influences within the tattoo field?

Donald Ink, Nicckuhori, Hide Ichibay, Horihiro Mitomo, Horihana.

A snake (Hebi) representing protection, renewal, wisdom, and the dual aspects of threat and guardianship.

Kindly elaborate on your approach and philosophy regarding your tattooing.

I prefer tattoos that are big, bold, and straightforward, because they can be read clearly from a distance and carry strength even decades later. For backgrounds, I like them massive and black to create contrast and make the subject stand out more vividly. My colors stay simple, bold, and lasting, resisting blurring and fading to retain their clarity.

The deity Fudō Myōō embodies discipline, bravery, and inner resolve as it annihilates ignorance and evil.

Which animals or characters do you like working with the most?

I really love tattooing dragons, snakes, and warriors like Tenjiku, etc.

Rorihakuchō, a figure seen in the “Suikoden” woodblock prints, is a monk-warrior who stands up to corrupt authorities to save the defenseless.

What percentage of stencils do you use, and what percentage of freehanding?

Stenciling is used for 60%-70% of the subject, while freehanding is 30%-40%—mainly for backgrounds.

The inherent challenges of a large cover-up.

Are cover-up tattoos an option?

Yes, cover-ups are a love-hate situation. They aren’t always ideal for a portfolio, but they are challenging and rewarding. The best approach is to avoid placing the focal point of the new design, like the main subject, directly over the old tattoo.

Singaporean tattooer Goodmorning in his private studio.

Do you have intentions to visit Japan? 

Perhaps I’ll go to Japan and meet its artists. Doing so could give me deeper insight into what draws me to tattooing, and learning more about the origins of Japanese tattooing could be interesting as well.

Photos © Goodmorning