Facebook messaging between Nick Yarr and me, 14/01/17
Exchange safely accomplished – I’m digesting the design – it is very intricate. I can’t believe my arm is that size flattened out – deceiving! The next stage will be getting my tattoo artist on board, and getting the design scanned. Any input as to where to look re scanning will be gratefully recieved! Thanks again, Clive.
It’s an interesting perception, the size of the arm, as I thought it looked rather small when the ‘wrap’ was flattened out to make a pattern. I was a little worried that it had shrunk over time. However, when I taped it around my own arm it was a reasonable fit. Neither of us are what might be called beefy, and so I’m guessing in terms of skin surface, our arms are similar.
This will be the first tattoo of the Skin project, and so I’ve no idea what the response of an ‘ink artist’ will be. There are a lot out there now who are both designers and inkers, and some of the star practitioners may well consider inking only their own designs. However I guess it’s the nature of of tattooing to be often transferring a specific design or image that the client wants. For this design, we need first rate copying skills married to the sense of interpretation that’s bound to be a part of the process of making a good transference from pencil drawing to inked skin. It’ll take a lot of subtlety.
Any thoughts on the scanning and where to start? I like the shading and three dimensional effect it gives. I like the flow and intricacy of the design, though the blue is something I’m becoming accustomed to!
Hansel & Gretel was scanned by Saxon Digital Services in Norwich. I think they did a magnificent job, which then transferred to the printing of the book. You can see all the fine etched lines in the printed illustrations which I’d worried wouldn’t reproduce well. I couldn’t have been happier with the result.
Regarding the blue. Throughout the design process I took images and digitally removed the colour, so I could check out how everything would look without the blue. The blue translates to a smoky shadow and you get a good sense of what the design would look like if you elected to go that way. Personally I like the blue, but the choice is there for you to forego it. Or if my blue is a tad bright for you, it could be pulled back to a more muted one.
Thanks Clive. I like the monochrome and the blue. I’ll give it some thought. I like the design very much. It’s what I was hoping for, but more extensive, if that’s the word, and extensive in a good way. Remind me of the reason for getting a digital translation. (This is a whole new world for a doctor – lol)
A detailed digital image might make it easier to download and show any ink artist what you you want to have put onto your arm. A good photograph or series of photographs might do initially, but at some point whoever you select will need to see a scale version or the original, given that it was designed to fit your arm.
I see – so I could also then translate the digital version onto paper so they had a full scale design to work with.
Exactly. Also, should you decide to go with a monochrome version, you can give the ink artist a scale image with the blue turned to tonal.
I recall in our original discussions, alone among all the participants you wanted something that was more pattern-like. More about mark-making. I remember being a bit daunted by your brief, because I’m essentially a narrative painter. But interestingly the past years have seen me working more frequently with patterns. They’ve always been there, in the flowery fields of the ‘saints’ paintings (Saints Kevin, Hervé and George) and in the rich diapering of textiles and backgrounds.
But now, in the Gawain series, they’re increasing foregrounded and given compositional weight to bear. In this gouache and pencil study for the print of The Green Knight’s Head Lives, the patterning of the horse’s caparison and the Knight’s tattoos, cover a good three quarters of the image, knitting it together and conveying the world in which the character lives.
So gradually I’ve became confident about what I could produce for you. (I am super aware that this is for life.) Had I been designing a tattoo for myself, it would have been the one I’ve made for you. I loved the idea of translating all the traditions of elaborate British historic embroidery and adornment into a tattoo. Your foliate design would serve just as well for the embroidery of an Elizabethan sleeve or doublet, as for a tattoo.
I want to take a tattoo tradition that’s been rather hijacked by tribal patterning, and make something elaborate and quintessentially British. Transposing what might once have been the embroidery of a sleeve, directly onto skin, feels rooted visually in the decorative traditions of these islands, while being married to the more subversive, modern expression of body modification. I love the idea of a reversal of what once was. The Elizabethan courtier wore his decorated splendour as an outer suit that could be peeled away to reveal the undecorated body. Now the dark suited business man can peel away his sober outer layer to reveal the foliate glories of his tattooed skin.
I think it’s drop dead sexy, this kind of male surrendering to beauty. Like a buck with a pearl earring. I don’t know how many people will get to see your tattoo, but I think it could be a gorgeous surprise, just poking out from under the cuff of a white shirt and skinny-smart three-piece suit. Hey ho Silver!!!
I agree that tattoos are sexy. Moreover this design is very different to the many tattoos I’ve seen, and that’s a very good thing! I think that finding an artist I’m happy to trust to do justice to your work will be the next challenge. I’ve a few in mind – so I’ll keep you posted! Thanks once more for the time and trouble you’ve taken. It is very much appreciated.
You might explain at some point that this a part of an ongoing art project. That might have an appeal for an ink artist who was interested in the profile generated by the project.