Flor Viñes (Fresia Tattoo) CABA, Argentina @fresia.tattoo fresiatattoo@gmail.com
- 13 hours ago
- 8 min read
There is a magical moment in realism that separates a good technical execution from a piece with a soul: the gaze. In Florencia's work, each animal's eyes do not just reflect light, but a living story. Specializing in animal realism, her needle captures the texture of fur, the wetness of a nose, and above all, that unbreakable bond between people and their pets. We sat down with her to understand how to build a career dedicated to portraying nature on skin, the challenges of giving shape to the memory of a loved one, and the projects shaping her path this year.
1. Florencia, it is a huge pleasure to have you in the magazine. To start from the roots, we would love to travel back in time: what was that first contact with the art world like, and at what moment did you realize that tattooing was the medium you wanted to dedicate your life to?
Since I was very young, I had a very strong connection with drawing and painting. It was always my way of expressing myself, something I could do for hours while completely losing track of time.
My mom was also very fond of drawing, especially cartoons, and I remember sharing many moments drawing with her. Around the age of 8, I started taking lessons with a painting teacher to explore that world a bit more, so I could say I've been drawing for as long as I can remember.
Later on, around the age of 18, I visited a tattoo convention for the first time, and it was pretty immediate: I walked in, saw that whole world, and thought, *"I want to do this,"* haha. I was fascinated by the atmosphere, the artists working live, and the possibility of bringing art onto the skin. That's where it all started.
2. When starting out as a tattoo artist, one usually explores different paths before finding their own voice. In your beginnings, what were those first styles that went through your machines? How do you remember that Florencia who was taking her first steps in a street shop?
Shortly after touching a machine for the first time, I started working in a street-level studio in Mar del Plata. I practiced a lot there and, as usually happens when you start out, I did a bit of everything. At first, they were fairly simple pieces while I was learning and gaining confidence.
Over time, I leaned toward full color, watercolor, sketch, and also some anime. These were styles I worked on for many years and really enjoyed, mostly because I’ve always been drawn to working with color.
However, even though I liked them, I felt like something wasn't fully clicking for me. I didn't feel I had truly found "my style." So I kept trying, learning, and searching until I found something I truly identified with.
3.Did you already have a prior background in illustration, painting, or fine arts before making the leap to skin?
I didn't have formal artistic training. I took some drawing and painting courses as a kid, but a large part of what I learned later was self-taught—practicing constantly and always looking for ways to improve.
During my school years, I was also very interested in fashion design, and I actually thought my path was going to go in that direction. I was quite sure I wanted to do something related to art and design... until I discovered the tattoo world, and all those plans changed pretty quickly.
4. Realism itself is an extremely rigorous discipline, but animal anatomy has its own rules of volume, light, and texture. What captivated you the most about nature to make it your main focus?
I've always had a huge affinity for animals, but for a long time, I never thought I could combine that love with my work as a tattoo artist.
I greatly admired realistic tattoos, although for years I didn't have the courage to dive headfirst into that style. I saw it as something very complex and held immense respect for the required technique. I think the support and trust of several clients who had already been tattooing with me for a while were key to finally pushing me to try and focus on realism.
When I started doing pet portraits, I realized I had found what I was looking for. A pet tattoo isn't just a pretty portrait: behind it, there’s a story and a huge emotional weight. Sometimes it’s a living tribute, and other times it’s a way to process a loss and keep that bond forever. Feeling that my work can help someone remember, honor, or even heal a little bit is what made me completely fall in love with this style.
5. We are very curious about your pre-session process. When a client sends you photos of their pet, what do you look for in the image? What details tell you that a photo captured the animal's true personality?
I always try to have the client make the initial selection of photos. I ask for several options because they are the ones who truly know their pet and can spot that specific expression or gesture that says, "Yes, that’s them."
After that, I make my own selection from a more technical perspective. For me, the most important element is the eyes. I feel the eyes are what bring the tattoo to life and what best conveys the animal's essence. That's why I need them to be clear, with enough detail so I can highlight them in the portrait without losing naturalness.
I also look for characteristic expressions or subtle gestures: a particular gaze, the ears, a tongue sticking out, or a facial expression their owners immediately recognize. And, of course, I make sure the fur has enough detail and that the lighting allows me to properly understand the volumes. Ultimately, I'm not just looking to copy a photo—I want the person to look at the tattoo and truly recognize their companion in it.
6. How do you feel the moment you finish the piece, the client looks in the mirror, and sees their companion's eyes on their skin once again?
It’s incredible, and it still moves me deeply. Pet tattoos carry a very heavy emotional charge because every person comes with a completely different background. Some want to portray a companion who is still with them, while others arrive grieving a loss, looking for a way to carry them forever.
In either case, I feel a huge responsibility. There’s also a lot of pressure because it’s not enough to just make a technically beautiful tattoo: it has to look like *their* pet. It must have their gaze, their expression, and that unique essence only their family knows.
On top of that, many people arrive terrified that the final result won't actually look like their companion. So, when we finish and I see their reaction upon seeing it for the first time—often getting emotional or telling me *"that's them"*—there is no better reward for me. That reaction makes all the pressure and hours of focus completely worth it. It’s definitely one of the main driving forces that keeps me doing what I do.
7. Speaking of technical aspects, how do you approach composition when integrating an animal portrait with other elements (flowers, geometric shapes, dark backgrounds)? How do you ensure the animal remains the undisputed main focus?
I always start from the principle that whatever we add must complement the portrait, not compete with it. For me, the pet must remain the undisputed main star.
Clients often arrive with elaborate ideas and want to add flowers, geometry, backgrounds, names, objects, and a lot of elements. Part of my job is to guide them and find a balance—especially in microrealism, where we have a limited space and every millimeter counts. Adding things just for the sake of it can end up stripping power and detail away from the portrait.
When I incorporate other elements, I prefer them to carry meaning within the story: a special flower, a favorite toy, something representing their personality, or a detail that immediately brings that pet to mind. I like the composition to tell a story about them, but without ever forgetting who the main character is.
8. What technical considerations do you always keep in mind to ensure that fur or soft contrast heals and ages flawlessly over the years?
There are several factors I consider because, when working with so much detail in small sizes, it’s not just about how the tattoo looks freshly done, but how it will evolve over time.
First, I adapt my technique and tones based on the pet, the person’s skin type, and the body placement. With color, for instance, I tend to pack certain fur tones slightly more saturated than they appear in the reference photo—while staying natural—because I know they will soften during the healing process and over the years. With black pets, I try not to over-saturate everything with solid black so I can preserve highlights, volume, and texture; with beige or very light fur, I aim to create enough contrast so those details remain visible over time.
I’m also quite strict about placement on the body. I prefer working mainly on arms and legs—areas where I know the skin texture will allow me to achieve the level of precision I need. That’s why I often decline placements like the torso or back for this type of work.
Additionally, I account for factors like sun exposure, body hair, and, of course, aftercare. In microrealism, we are working with extremely fine details, so for me, it's essential to set up all the right conditions from the start to ensure the portrait doesn't just look incredible on day one, but ages in the best possible way.
9. We know our readers love following our artists' journeys. What does the rest of your year look like in terms of travel? Do you have any guest spots planned in other studios or cities soon?
Yes! I love traveling and having the opportunity to discover new places while doing what I love. One of the most beautiful things I’ve discovered working with pet portraits is that this bond is completely universal. You can change countries, languages, or cultures, but the love a person feels for their animal is understood anywhere in the world.
That allows me to travel and meet people who, even if they live thousands of miles away from Argentina, arrive with stories and feelings very similar to those of my clients back home. I think it’s wonderful to be able to share that love and capture pets around the world.
Very soon, I plan to tattoo again in Spain, Italy, and the United Kingdom, and I would also love to take advantage of those trips to participate in an international convention. So far, I’ve participated in conventions in Argentina, so being able to experience that abroad is definitely one of my next goals.
10. Any acknowledgments or thanks?
Mainly, I want to thank everyone who has trusted and continues to trust my work. Every client who chose me to portray someone so important to them has also given me the opportunity to grow, learn, and become the artist I am today.
Especially with this type of tattoo, where people are often trusting me with a deeply intimate and emotional story, I value that trust immensely.
I’d also like to thank everyone who supports me, recommends my work, shares what I do, and has followed my growth over the years. Without them, none of this journey would be possible. They are, without a doubt, my main motivation to keep learning, traveling, and striving to outdo myself with every tattoo.
Comments