Victor Portugal was born in Uruguay and he lived there for quite a long while before he moved to Krakow Poland to setup his own particular tattoo shop.

He began his tattooing vocation in 1998 and as of not long ago he started showing signs of improvement and better extraordinarily those biomech/underhanded plans of his. In view of his prominence in the world, some of the countries have named his tattoos after him. As of now he is working at his own studio in Krakow preparing tattoo projects. He works at tattoo traditions all around the globe. As of now he is working at his studio Dark Times Tattoo in Krakow get ready tattoo ventures. He additionally has his own mark tattoo machines that are available to be purchased on his site. Victor is praised at numerous traditions around the globe.

His first contact with tattoos was 1996, when hippies went to his town. They were tattooing in a tent with a custom made machine, and the thought interested him. He began to go to Brazil, where there was a huge tattoo development center and the tattoo artists were great. He generally felt captivated by dark and-dim, and what entranced him the most is that lone some dark ink and water could accomplish that enchantment.

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Photo: Victor Portugal

In the beginning of his profession, he tattooed pretty much anything, however he generally felt slanted towards the dim and dark art. When he moved to Europe, everything changed—design, seeing structures and Gothic prayer houses and baroque Italy tempted him.

He has been constantly open to different styles however comes back to the best of him-Black and Gray It’s difficult to portray his style; he tries to raise the complexities to have a more noteworthy clarity at a separation, and that additionally decides its solidness. He is dependably in the transformative procedure, bettering the best. Different tattoo artists too reference his work.

He himself says, motivation is all over and anything goes on the off chance that one has the correct light and knows how to decipher it.

His work is constantly adjusted; he drew and tattooed darker things—skulls, evil presences, villains, and so forth. As a learning and practicing man, he then began to apply the “differentiation” key and found that those dull and malevolence skulls were missing something delicate. He then began consolidating them with female faces, and included somewhat shading, stream, amicability, and so forth. Having a lot of dim in expansive tattoos began appearing him substantial so he began to put in some red and warm hues.

He himself adores tattooing greater things that cover vast parts of the body. He thinks that it is more hard to do little tattoos than to do a whole rib. Free-hand is what helps him coordinate the plan into the body, exploiting muscles’ ways; yet when he makes things symmetrical or clock gears he first makes a stencil. The upsetting or chaotic part for him is beginning, after which everything is simply more agreeable.