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Artist Spotlight: Bill Canales — A Master of the Dragon and a Lifelong Student of the Craft
- First Street Tattoo Parlor
- Dec 8
- 5 min read
Few artists in modern tattooing carry the pedigree, discipline, and global respect of Bill Canales. With over 34 years in the craft, Bill has built an international reputation as one of the leading authorities on Japanese dragon imagery. His work is instantly recognizable—dynamic, deeply studied, and executed with the kind of precision that only comes from decades of obsession with form, movement, and structure.
Bill began tattooing in the early 1990s, drawing inspiration from black and grey legends like Jack Rudy, Cap, and Brian Everett. But in the late 2000s, his trajectory shifted dramatically when he immersed himself in the world of Japanese dragons. Influenced by icons such as Filip Leu, Mick from Zurich, Luke Atkinson, and Mauricio in São Paulo, Bill spent years refining, revising, and relearning the creature’s anatomy until the formula finally clicked. Today, he stands as one of the foremost dragon specialists in the tattoo world—an artist whose work is driven not by trend, but by relentless study and a deep respect for the cultural roots of his subject matter.
Beyond tattooing, Bill’s career has evolved into global teaching, publishing, and collaboration. His Dragon Seminars have become a vital resource for artists seeking strong foundations and authentic guidance. His books with Kintaro Publishing have pushed traditional Japanese design studies forward. And his influence continues to shape artists across generations.
During his recent visit to First Street Tattoo Parlor, Bill taught a Dragon Seminar that left a strong impression on everyone who attended. Afterward, we sent him a series of interview questions to dive deeper into his journey, his philosophy, and his perspective on where tattooing stands today.
Below is the full conversation.
1. You’ve been tattooing for over three decades and have become known worldwide for your dragons. How did you come to be regarded as one of the leading authorities on dragon imagery, and how has your style evolved over the years?
Over the last 34 years, starting in 1992, my journey began as a black and grey artist influenced heavily by Jack Rudy, Cap, and Brian Everett from Route 66. Japanese tattooing wasn’t on my radar at all. Fast forward to 2009–2010, and I found myself diving deep into the world of Japanese dragons. Artists like Filip Leu, Mick from Zurich, Luke Atkinson, and Mauricio in São Paulo had such remarkable control over the design that it pushed me into a long period of study.
People often say hard work will get you there, but that’s not always true—you can work hard in the wrong direction, and I did for years. It wasn’t until around 2018–2019 that I finally understood the structure and formula to draw the dragon properly. Since then, the dragon has become a wild obsession.
2. You’ve reached a point where you’re collaborating with legends like Filip Leu, traveling the world, tattooing, and teaching. What has that experience been like?
Collaborating with Filip Leu—who I consider my “sun”—was a pivotal moment in my career. The fulfillment of that experience was so strong that I could’ve ended my tattooing journey there and felt content.
Teaching began unexpectedly thanks to my friend “Fast Ali” from Lost and Found in New Jersey. After being invited to teach a seminar before the Pagoda Convention, the idea took off, and now these Dragon Seminars have gone global. Teaching has taught me patience and how to explain complex concepts in simple, accessible ways.
3. Does teaching scratch the same creative itch as tattooing? Has it changed how you see your own work or the craft?
Teaching feels like the natural evolution of my career. All the years spent studying the dragon opened my eyes to its intricacies. Now I feel a responsibility to share what I’ve learned so others can truly grasp the challenge of drawing and tattooing the dragon. My hope is that it elevates the craft as a whole.
4. Tattooing has always been deeply communal. With social media pulling artists apart and workshops now bringing them back together, how has it felt stepping into other shops and scenes again?
Whenever I visit other shops for seminars, I pay attention to everything—the layout, the day-to-day workflow, how artists interact. I take those observations back home to improve the environment for the people I work with. Being in other shops again has reminded me how much the culture thrives when artists share space, ideas, and techniques.
5. Many are calling the current tattoo market the “Tat-pocalypse.” What would you tell younger artists about staying grounded through all this?
The last few years have been unlike anything I’ve seen since 1992. Artists with a specific style are staying busy; those without one are struggling. It used to be normal for tattooers to do everything—portraits, lettering, custom work—but that doesn’t work as well anymore.
I wish I could say things will improve for everyone, but maybe they won’t. Some artists may need second jobs. Not everyone will survive this shift. Even I feel the anxiety of uncertainty every time I sit down to tattoo. The reality is tough, and tattooing is not for everyone—especially now.
6. This year has been full of travel, books, seminars, and conventions. What’s next for you?
It’s been a whirlwind. I feel like I have a few strong years left, but staying relevant is crucial. I’ve seen too many older artists struggling when they should be thriving, and I’m planning ahead to avoid that path.
7. Before leaving First Street, you grabbed a copy of our zine. What message would you leave for younger artists who might be reading it?
Young artists today face a steep climb. I try to prepare my 19-year-old apprentice for the realities of the craft, but it’s hard to understand at her age.
My advice: when a mentor appears in your life, pay attention. Truly pay attention. Everyone gets introduced to teachers along their journey, but not everyone listens or absorbs the lessons. It took me a long time to understand the craft, and I still don’t know if it was luck, hard work, the right connections, or just life unfolding. None of us really do.
Bill’s visit to First Street and his willingness to share his decades of experience remind us why we continue to build platforms like the Lowbrow Classic—to highlight the artists who push the craft forward, honor the lineage that shaped tattooing, and inspire the next generation to step into the industry with intention, humility, and discipline. His perspective, forged through years of studying the dragon and navigating the highs and lows of tattoo culture, is a powerful reminder that this craft is built on community, mentorship, and an unending commitment to learning. We’re grateful to have hosted him, and even more grateful to share his voice with our readers and artists as we look ahead to another year of creativity, collaboration, and growth.