Name and portfolio.

When clients claim to have contacted me because they has been following my work for years it’s always a satisfaction, and generally I hope that they’ll ask for one of my favourite subjects, but that’s not always the case.

Sometimes new clients contact me because they are attracted by one of the latest pieces shared on my website or social media.
One of the last pieces I shared before this guy contacted me was “Oriental Dragon”.

So, attracted by my approach to Oriental style – which is not exactly my style but, apparently, I do it in an attractive way – he chose me for his project.

Asagi Koi

The Koy Fish is not exactly the most original subject of this world, it’s actually one of the most inflated.

Among the different species of carp, the Asagi is definitely more interesting than the usual red or golden carp, at least for someone like me who isn’t a connoisseur, and not being a connoisseur, although it’s a particular species of carp, to me it’s just a fish 😀

But if at first impression it might seem like a lack of creativity, his choice of subject actually came from a deep passion for fishing, carps and Eastern culture.

The client entertained me for several dozens of minutes explaining the differences between the various species and other characteristics I didn’t know about, he therefore proved to be an excellent collaborator in searching for references to create the design.

Unusual placement

I must admit that the placement he chose didn’t excite me very much, the head and body on the pectoral aren’t bad, but leaving only the tail and a couple of flowers on the shoulder seemed like a shame.

For professional deformation, I would have placed something more important on the shoulder than the tail, but overall the project worked well so I went along with the client’s wishes.

Back to the origins

Given the simplicity of the design and the traditional nature of the style and subject, I decided to draw it in a traditional way, with pencils and markers.

The art of drawing is in itself a sort of meditation, but digital drawing somehow disconnects mind and body, perhaps because the surface doesn’t allow you to fully feel the lead of the consuming pencil, the colour that spreads out etc., it’s as if there were a sort of barrier between the artist and his creation.

Furthermore, the charm of a drawing on paper or other surfaces is way more fascinating than a digital print.

Returning to this kind of feeling was positive and I think I will try, when time permits, to use traditional methods more often.

The final result, in its simplicity, is definitely attractive.

From paper to skin

During the realization phase, I realized that the flower on the upper shoulder had been poorly designed.

In the drawing the flower, almost in profile, worked very well giving depth to the drawing, while on skin that flower stretched almost horizontally on the upper part of the shoulder.

So, before proceeding with the stencil, I took the time to redraw it, open, as if it were seen from above, so that it would fit better into that area.

The realization was simple, a session for the blacks and a second session for colour.

For someone who doesn’t usually deal with Oriental style I think I did a really good job 😀