Still in Paris, one day after meeting Somali, I finally met Maryline, a deligthfully adventurous muse who I have already collaborated with in the past, but only by drawing her using one of her pictures as models.
Not only everything went great (despite my very limited French) but she also secured the services of "Max", a very talented photographer who provided immense value to the session.
Not only everything went great (despite my very limited French) but she also secured the services of "Max", a very talented photographer who provided immense value to the session.
Preparation Phase
As usual, I started by preparing a "map" where I would mark any tattoos, and send to the model to make sure I had these right.
In the case of Maryline, based also on some of the photos she posted on IG, I suggested we could use one haiku from an odd book that I had recently ordered on Amazon…
In the case of Maryline, based also on some of the photos she posted on IG, I suggested we could use one haiku from an odd book that I had recently ordered on Amazon…
The book is titled The Naked Octopus, by Gabriel Rosenstock, and is a list of 20 odd haikus, originally composed in English, but the book provides also a Japanese translation…
I selected a few of these, translated those (via deepl) in French, and then…
I selected a few of these, translated those (via deepl) in French, and then…
I offered Maryline with a choice of half a dozen haikus from the book, and she opted for:
最後には
浜で裸身に
凍り月
Meaning
Here I am at last
Naked on the shore --
Frozen moon
最後には
浜で裸身に
凍り月
Meaning
Here I am at last
Naked on the shore --
Frozen moon
Having agreed on an overall "octopus" theme, the most logical choice was to go straight for Tako (Octopus) for the main Kanji.
This time, though, the Kanji would go on the back, while I decided to write the haiku on her leg.
This time, though, the Kanji would go on the back, while I decided to write the haiku on her leg.
Maryline was fine with both my suggestions, so I provided her with an updated map, and asked my teacher to prepare a calligraphy reference for the haiku… but right after that, Inspiration struck…
I was already thinking I would like to introduce Sumi-e or some pictorial elements in one of my future sessions… and tentacles are fairly easy to draw with a brush… so I made a quick prototype sketch and asked Maryline if she would also agree at me trying to draw those on her chest.
I was already thinking I would like to introduce Sumi-e or some pictorial elements in one of my future sessions… and tentacles are fairly easy to draw with a brush… so I made a quick prototype sketch and asked Maryline if she would also agree at me trying to draw those on her chest.
Once again, she was quite enthusiastic. I just stipulated that I would do the calligraphy part first, take as many pictures I wanted… and only then I would move on with the tentacles.
My reasoning was that in this way I could at least "save" the calligraphies in case the drawings were not good enough.
My reasoning was that in this way I could at least "save" the calligraphies in case the drawings were not good enough.
Writing Phase
It is a bit to soon to talk of "routine", but once again I decided to start by writing the part on the back of the model.
This was one single Kanji, so I opted for a somehow larger brush for this part.
This was one single Kanji, so I opted for a somehow larger brush for this part.
After that I asked the model to stand up and I started working on the haiku (going back to a standard size brush, which I would use later for the tentacles, too).
Drawing Phase
Things went fairly well, so we moved to the tentacles part almost immediately, despite my original idea to stop and take photos of the calligraphies first…