I was actually poking at the idea of homemade floggers recently; I can't believe I never thought of rope. Brilliance! (the one I made was out of that Rexlace stuff, but that's more stingy than thuddy. entertaining to make, either way.)
I wonder if there's a way to finish the ends and have them stay, though? (I see you bound them with the same cord as the handle, yes?)
Second: details! My eldest brother finally got married to this lovely girl I totally adore (and I say 'finally' because they've been together for ten years now), and they decided to have a beach wedding. I wanted to give them something keeping with that theme, and flailed about for a bit before remembering the aforementioned tree. (I'm usually a stickler for 'useful' gifts, but I also did the photography for the wedding, so. They get this. *G*)
I used copper and silver wire, green glass chips and white shell chips from a broken necklace my GF gave me. This was the first time I've played with tree-making, though I've toyed with wire stuff before. I thought the entire project would take forever, but it was actually surprisingly easy!
Heh, I tend to be fantastically anal, so I actually traced the black outlines on my computer in Photoshop first, and then printed out the lines to trace over on the acetate. Then I printed out a copy of the actual cel to get the color lines as well.
I used just basic acrylics, though I wish I'd had some that were a little thicker. There's a tip if you try to make a cel: there is a lot of layering if you use thin paints!
So, my dad is very big into anime. And by very big into I mean obsesses over. Half of our library room is now completely taken with anime and manga and memorabilia.
My dad is also very hard to shop for, since he buy anything he needs or wants...
So! For Christmas this year, I decided to make the old man an anime cel (http://en.wikipedia.org/wiki/Cel). He collects them, but there are certain animes now that are hard to get cels of (even reproductions or rilezu, for those who know the jargon). I decided to make a cel from a screenshot of one of his favorite animes, Phantom Memory Kurau, because he hes never found any kind of cel-like things from that particular series.
The finished piece:
The original scene (not the particular screenshot used, but you can get the gist):
This was a traumatically lengthy project. I had to go with what supplies I had, which meant a crash-course in paint color mixing, and the paints themselves were so thin as to need multiple, multiple coats (and they're still kind of thin in areas). I watched a lot of Stargate Atlantis while, literally, waiting for paint to dry. Urk. Nevertheless I am rather proud of the finished monster, and think it's at least decent for my first (well, 1.5; I restarted halfway through because the colors were too dark...) attempt.
My dad's birthday is on Dec 31, and I was planning on giving him a 'certificate' for a cel of his own choosing, so I suppose the agony isn't over quite yet...
It's a really beautiful design, but any good artist will tell you that all those thin lines will eventually result in a giant blob. Thin lines also tend to fade faster so you'll have to have yearly touch ups probably.
That's not necessarily true. Especially not about the touch-ups!
I suppose this'll have to bring up the quality artist subject: you need to find someone good. My sister has a place she goes to where she gets her tats for $30 - $50, and she has I think four now (and one cover-up: the name of the ex :p). However, my one tattoo was $150. This is because I went to a quality place (Prix, in West Hollywood), where they used everything sterile and had an autoclave on-site, everything clean and shiny -- the place was more like a gallery than a tattoo parlor.
Tattooing is an art form - you have to be a quality artist to do it right, and well, and in a way that doesn't screw up your canvas - skin. I have friends who have had to get touch-ups because they went to places that weren't high-quality. (note: if they let you put plastic wrap over your tattoo right after it's done so you can look at it - don't! this is a real wound, here, and you need to treat it like one. gauze it up and let it heal.)
What it comes down to is the ratio of what you put in and what you take out, and what you want to risk. If you put in good money for your tattoo, and get it in a good spot, down the road it'll probably look very similar to its first appearance. If you don't, then you'll have a very pretty piece of artwork on your body, but it may or may not look the same in ten years.
Oooh, pretty. Are you thinking of using those colors?
I would suggest making the treble clef a little thicker, perhaps, or maybe finding a way to distinguish it more with a varying color. Definitely agree that you should talk to your tattoo artist beforehand, as they can come up with things that work very well. (Unless you specifically want something of your own creation -- in which case, be sure to get an artist that can reproduce it faithfully.)
As for placement, that is always a tricky question. If you want somewhere you can see it easily but still cover it up (for business-like environments, eg), somewhere on the leg/ankle would be a good choice, or perhaps hip. (though that hurts like a mother, I'm told!) There are other things to consider as well, such as how your body changes -- don't get a tattoo on your stomach -- and meaning can be considered as well. I have a quill/inkwell for writing on my wrist--perhaps not the best choice for the more serious work environments, but intimately symbolic to me because it's over the veins on my writing hand, in a kind of 'lifeblood' thing.
I think it's great that you're putting thought and meaning into your tattoo. So many people don't these days.
Oh, that is just lovely! I've always adored the paper crane lore.
Was it very hard to make them so tiny? I've always wanted paper crane earrings, but the ones I find - amusingly - are never actually paper. I suppose I should start bigger and work my way down. *laughs*