Lance

@Reyeslv, I just noticed IG postings from @Stewart Robson and your photo tagged on LST. Congratulations to you both on completing this awesome back piece and finishing the thighs. Great work! Where did you finish it? Are you in London visiting again? Commitment! Again, it's a thing of beauty and can't wait to see you two progress on the front.

Thanks for posting. I really dig Duncan X's work.

Yesssss! Thank you Sir! For posting this. I cannot wait to watch it!

@hogg, @Avery Taylor It's all part of the design. What @Rebushido really asked for was a bearded lady ;-)

His hair! He looks like something out of a cartoon. Oh wait! Image - Lion-o.JPG - ThunderCats wiki

@Rebushido, those eyes man! They just stare at you! When wearing pants they'll poke out just above the belt and say, "Peekaboo! I SEE you!". Very intense. Must see progress shots as they occur. That's very nice.

Wait. I've been sick this whole week so my brain is absolute mush, but was that a joke or is there really a second set in the works to look forward to?

Hmm, perhaps Horizakura is selling a few copies? I don't know for sure. I say that because I purchased mine at Diamond Club and I can remember seeing Brian Kaneko selling them as well. I assume someone with a Horitoshi connection might be selling them. Otherwise maybe Diamond Club could ship you one. The book was really not pricey at all from my recollection. It's really nice too. - - - Updated - - - Hmm, perhaps Horizakura is selling a few copies? I don't know for sure. I say that because I purchased mine at Diamond Club and I can remember seeing Brian Kaneko selling them as well. I assume someone with a Horitoshi connection might be selling them. Otherwise maybe Diamond Club could ship you one. The book was really not pricey at all from my recollection. It's really nice too.

Ha! You nailed it! I also get the, "Wow, it's going to look so good when it's finished". Or the awkward, "Oh! Ummmmm, errrrr, yeah, um I guess you can get it colored in if you want to later". response when I tell them it is finished.

@GrayCatLove, oh great thanks. That's a good idea. I tend to be very careful with those pricey books, old prints and such.

It's your sole month. The 1 month out of 12 that you don't get tattooed. The rest are taken and anyone who gets in your way of the tattoo shop be damned!!! I like that. I can get behind that.

I'm no expert. I defer to any artist or non who can lead you in a better direction. Traditional Japanese can be hard to understand because there are certain things only done in a particular fashion by a particular Family in a specific region. There are Family differences and regional ones.A good example might be how low the back piece extends or how much the chest is covered. Some extend just above the nipple, while others cover the whole pectoral. What might be right and proper in the south and for one particular Family could vary widely from say a Family located in the northern region of Japan. That said I really enjoy these books below (there are many more out there too): Bushido by Horitaka Studying Horiyoshi III by Jill Mandelbaum Horitoshi I by Roberto Borsi Bunshin II (about Horitsune II) published by Tätowier Magazin A History of Japanese Body Suit Tattooing (focuses on Horikazu) by Mark Poysden & Marco Bratt Horikazu published by Edition Reuss Also I haven't seen a copy yet but "Wabori" appears like it might be interesting. There was a post on a few days ago under the media section. I believe iron chef posted it. Horikitsune's books look like they might be worth an investment too. But I've never actually had the chance to see them. Sorry, too lazy to post the actual links. I'll have to let you do some legwork.

Those are truly beautiful books. I'm so anal retentive, between the bodies book and my copy of Grime's latest, I hate touching them because of the oils in my hand. I fear I might mar their awesomeness. Btw, yesssss! You used "Frak"! You are on the cool list.

It's late and I may be missing your point @Gregor, I've seen a lot of back pieces that incorporate some awesome smaller elements into a cohesive piece. Like a rock of ages designs that also incorporate lady heads or mermaids or sparrows, ships, anchors, etc. Those seem to be great ways to incorporate several subjects, albeit in my example,loosely related to one another into a cohesive back piece. Battle royales seem to be another way especially if you get creative via lady faced snake, chimera or whatever. Just thinking out loud that it might be something workable for you.

Wait, wait, wait...WHAAAAAT?!?!? What the...what? Wait a minute...no, just simply, WHAT??? Traditional American Japanese? Neo new old school? Am I missing commas? Sorry, I couldn't help myself. Ha ha! That was hella confusing the first time I read that. Some of it sounded like an oxymoron. I'm a little anal though. Things are either traditional japanese or new school or old school or Neo Japanese or American Japanese but old school traditional American neo new school Japanese? That's a new one for me. Are you thinking an Ed Hardy style? I'm trying to wrap my head around this. Would love to see an example. Enjoy November 19th.

Oh my! @TrixieFaux, those sweaters! They are A-MAAAAAAAA-ZING!!!!!!

Unfortunately not, though I wish I could have. Apparently it was all about the panther design, I believe. Shige's seminar began at 10:00 before the Convention opened for the day and I think to enter Ed Hardy's, you needed a wrist band showing your admission to the convention. By the time Shige finished there was already a long line waiting to enter and I was still sans a wrist band. I can only imagine how cool it must have been.

I'm late in posting this. Also it's long. Grab a cold beer and read at your leisure. So was I the only one who attended the Shige Seminar at the SFO convention? If anyone else went I'd love to hear your thoughts. Especially if you went Sunday. I attended Saturday and what was supposed to run from 10:00-11:30, lasted till about 1:30. And only because Ed Hardy's lecture was supposed to take place in the same room at 1:00. I suspect it could have gone on for another hour. Shige was rushed at the end and had to skip over some explanations. Even then, it was both entertaining and educational. For about 3 hours he discussed the practice he goes through developing each of his back pieces. Starting with a day long consult with his clients to make sure they get the tattoo they want and to make sure he and they are all on the same page. He explained 1 day may seem extreme for a consult, but given the size, the fact they will be together for long periods for the tattoo, and the tattoo will be a part of the Client forever, giving them a day for a consult was most responsible. In one of the back pieces he showed us, he explained the Client originally wanted one design motif but he convinced him to go another route. In that particular case it was a friend with a family, and who owned a nail salon. The Client was originally interested in a hell scene but Shige asked him if he really wanted that type of scene given his new family and his life making people feel more attractive. The Client realized then that something else was more appropriate and together they arrived at a design incorporating a Buddhist diety. I thought this was cool because it showed his commitment to his Clients and their happiness. He also noted that each back piece is designed specifically for each individual's body. No design can truly be swapped out for another person because he designs in full scale, and for the bearer's shape. Rather than drawing a sketch and enlarging it, he'll draw life size designs. I thought this was an interesting approach and allowed him to fit as much detail as possible into a design. This explains a lot from what I've seen of his work where for example the arc of a sword scabbard perfectly follows the curve of someone's lats. In regards to subjects, whether they be Buddhist entities, mythological/natural creatures, or scenes from specific stories, Shige explained he takes great care in making sure he gets the subject just right in portraying them accurately and accentuating certain elements as needed. One thing he mentioned was that it was his job to educate the Client about stories. The Woodblock, Noh, Kabuki scenes are not something most Japanese Clients know about. Most people in Japan are just as uneducated as non-Japanese in regards to this. As such he takes great pain to research as much as he can. In the instance with deities, each hand carries a certain item. Which hand it is in and which item is very specific. This reminded me of Horitomo's lecture on Fudo Myo-o who said the same. If the items were lacking or in the wrong hand then the depiction of that deity would be off. It's all in the bearer if they truly care, some don't, but it's good to hear things about these deities most are not aware of to know they may be incorrect. He also noted that most motifs based on a story is based on a true story with a historical figure and context. It was very important to know this and he went through the process of showing some back pieces and describing their stories and where in particular they took place in Japan and when. And also compared the time spans between each. Now I've always been interested in mythology since I was a wee lad so bit by bit I've made an effort to learn about particular historical characters, many of whom figure into these stories to a certain degree so some of these stories were familiar to me, but I always relish the chance to hear more about them. Even so, Shige apologized many times to the group for making it feel like a history lesson, but also stressed how important it was to know it. Why so? One example he explained was when designing patterns on kimono or the colors used. One would not apply the print design of a geisha from say the 17th century to the print design on a princess's kimono from the 10th century. The pattern would be wrong for nobility and the time period would be off. subtle things. In the past the closest thing I've seen to this example was with regards to samurai style armor from the 1500-1600's being depicted in stories from about 1100. They were cool images, no big deal you think, right? Not really. I mean if you don't care about details like that it's all good, but in relatable terms it's like showing a Viking at the controls of a drone strike or a knight wearing chaps and a pair of six shooters at his side. It can be cool but it can also just as easily make someone scratch their head. All this, displayed the shear amount Shige goes through to give his all to a tattoo. What was also nice was that while informing the group about the historical backdrop of particular stories, he also touched upon their relationship to other stories and how they interconnected. He also alluded to particular stories he felt would make interesting subjects for future large pieces. Taki who was translating, joked that he wasn't sure if Shige was hinting that he wanted some one to make a request for those stories. If it was, or you want to give it a try, I can fill you in on which stories those were. Ha ha! Between all of this he also described how having no "master", outside of the constraints of certain story elements, he was allowed creative freedom to do what he wanted and not conform to rigid traditions. For example normally a back ends a certain distance on the ribs down the side but I believe it was his Taira No Tomomori back piece, that the subject wrapped around the Client's body to almost become a full body suit or in the case of another tradition mandated a Buddhist deity be depicted with 11 faces. In that particular case instead of tattooing all 11 he introduced some western notions having some hidden with the idea that as the faces wrapped around the deity you wouldnt be able to see some and he also allowed the Client's face to be the 11th. In addition that particular face was known to always wear a smile. So Shige told the wearer that he always has to smile now. I thought that was pretty clever and a nice inside joke between the two. I'll end this now, but like Shige's lecture it could go on much much longer. Suffice it to say it was a very enjoyable time and what I came away with was a profound appreciation for one man's deep thought process he gives to each of his Client's tattoos. Often times, something Clients take for granted of their Tattooers. Thank you Shige and Taki for the seminar. Also everyone who attended received a print of Fudo Myo-o and a digital copy of his book! Now I have all 3 versions. Hardcover, paperback, and digital! Sidenote, every time I mentioned "Client", I was very tempted to swap it out for "Canvas". But that would be too cruel.

Strictly speaking japanese style artists who do tebori, I'd agree with what @ironchef said. Anyone from the Horitoshi family is amazing. Lately I've been pretty fixated on all of them. @kylegrey also mentioned him but Nakamura Toshikazu also intrigues me. His style seems more classic and simpler. Horitomo however is talent incarnate. He's definitely the favorite of mine.

Actually, both arms look great together! I like the flower, animal, mandala (for lack of better term to come to mind) parallels.

Agreed with @dari. Talking about cash carried by you to a tattoo shop and thus potentially by your artist at day's end is not something that should be talked about on a PUBLIC forum. Let's all think on that for a moment and let your imaginations run their course. ...and the light bulb flashes on! Hopefully.

If you ever do try for that ponytail, be prepared to be called "ma'am" by wait staff. As @hogg and others witnessed this past weekend. Ha! BTW, your back piece? Daaaayyyyyyummm!!! - - - Updated - - - @Reyeslv, I can't wait to see it when you have everything done, the thighs, the front, it's going to be jaw dropping. Didn't see it posted, but what are you planning for the front? Or is that hush hush to keep us all waiting in anticipation? I'm happy to have seen your back in person. It's fantastic!

WOAH! :-O That's stunning work right there. And to go from being tattooed on the side one day and then the chest the next for the amount of time, hats off to you. I saw the progress posts on Diamond Clubs IG. I figured that might be you. Damn!

At dinner there were enough back and torso pieces in the group, we should have had a shirts off photo taken! And on that note has anyone else noticed the photo bomb in the background of the photo? Ha!

I consider having fun at the convention and meeting new people a justifiable reason enough to hug! Don't you? Sides we were in SF, the Seattle Freeze need not apply. Ha ha! And that's a better view from when I saw it being done. NICE!