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This is the second Monju Bosatsu I did in jsut seven days. Such a coincidence that two clients, not related or aquainted, and both of asian decent, would pick this design within such a short space of time.
Kevin came up from Gothenburg to have this done in consecutive days. With this piece, and as my client wished so, I opted for a style more resembling buddhist esoteric paintings. Of course the concept went once or twice through my Irezumi heart. This is what we ended up with. Very happy with this.
I must point out the irregularity in myself deviating from my usual Irezumi style. This is something I will only try for Buddhist or perhaps Shinto content.
A full Irezumi backpiece depicting a Ryu (dragon) that I am creating. It features some cover up elements and that's usually tricky but never difficult really. I have found hiding (actually I am not to found of the term "cover up") has more to do with being creative rather than actually blasting old work over.
As usual, I am working from a partial stencil (the xalligraphy on the skull in the Ryu's claws required this) and then I draw the rest on the skin with markers. Hopefully we'll get some more sessions in on this one soon.
Thomas chose an image of Monju Bosatsu seated on a Shishi. The tattoo was completed within a week in three sessions. Thomas arm is quite wide and I am shure I could have filled my own thigh with this design. Monju Bosatsu is quite uncommon as a tattoo here in the west, and I thought I never would get this request. Funny enough, I ended up doing another Monju Bosatsu the following week. Images of that coming soon. This Irezumi piece was created entirely with the use of rotary machines, which have been my favored tool for some time now.
I nevertheless feel the urge for getting back to working with the tebori (traditional hand tattooing tool) and will do so in the near future,
These sleeves were completed just at the start of summer. Hopefully Alexander will return in order to start on his back soon so that he may become a completed whole.
This is a piece that I finnished in the beginning of summer but for various reasons I haven't gotten around to posting it here yet. This piece required a lot of work because of all the detail, but was nevertheless completed within a single month. Ludwig was determined to have it done as fast as possible, so we aimed for long sessions, sometimes two days in a row.
The story of Taira Tomomori is an itriguing one, and a favourite theme for myself as well as the Ukiyo-e designers of Edo period (1600-1868) Japan. The image of general Tomomori himself is adapted from an early Utagawa Kuniyoshi (1798-1861). I have posted an image of here below.
|Print by Utagawa Kuniyoshi|
This piece is in fact finnished, but I have not photographed it properly yet. Here some of the colours are still missing. I was really fun and interesting to work with a Kintaro design that did not depict him in water wrestling the koi. There are so much more to choose from when it comes to Kintaro designs. All one has to do is do proper research into Ukiyo-e.
I can not stress this enough - if you want to be able to create proper Irezumi there is no way you can get around studying. This means reading book upon book on japanese culture and history, until the lines of evidence converge in such a way that you can be shure of what you are doing in your Irezumi.
Irezumi demands total dedication. Always keep that in mind. For the westerner that do not have the opportunity to learn from a Japanese master, all that remains is study, study, study. And to never give up, of course.
Massiliano came back up from Milan in order to finnish his sleeve with Shishi, Koi and Botan. We worked for two days in a row and finnished just in time to drive him to his flight. The images are of the slightly swollen and bruised result after the last two days. In February I will meet up with him in Milan in order to get som real studio photographs.
I really like working like this - focused on primarely one or two pieces each week. It has also worked out great for all the travelling clients. They get a lot done in a relatively short space of time, and energy can be kept at an optimum level at all times. Everybody benefits.
For anyone interested in how this piece looked before colour was done, please go here
Christoffer has chosen Koi and Botan in water for his first sleeve. Even though I do make many, many Koi I never grow tired of creating new versions of the design. In the repetition lies the path to mastering any design. In fact, there is no single design I prefer working with above others. It's the tradition itself that intrigues me, and it always seem to be many parts to the whole.