But out of all the sequences presented, this one was my favorite:
As both an artist AND a kinky ‘switch’ this little tale resonates with me pretty strongly mainly because I have, in the past, altered vanilla images AND used live models for my paintings.......but never both at the same time!
When I was still in Grammar school, my interest in spanking had already manifested itself deeply. I hungrily searched out any references to spanking in literature, imagined all sorts of spanking scenarios, and physically self-spanked whenever I had sufficient privacy. And, being a budding artist/cartoonist, I also drew some spanking illustrations. Due to the time and my youthful fervor, they always ended up being more severe than anything I would do now.
But, on a couple of occasions, I also did what is now rampant with Photoshop…...I added marks and coloration to magazine images of otherwise pristine backsides. However, soon after doing so, I would become very embarrassed and even disgusted that I resorted to this, and would angrily destroy what I did with more than a little self-loathing. I truly think this is why I harbor such hatred for Photoshopped images today. I just associate the practice with desperate, immature, and unhealthy obsession.
When I got old enough to incorporate spanking in my real life relationships, these memories of deeds past took on a more forgivable tone, as I just chalked it all up to the frustration of having been too young and inexperienced to have done much else. I mean, what were my chances of being like 12 or 13 and having a spanking relationship?!
After living a few kinky, spank-filled years in college, I went on to graduate school for fine art (Pratt) and once there began to enlist volunteers from among my circle as nude models. Now while I had not seen artist/model etiquette laid out in any manual, one soon picks up on things from watching how models are treated in life drawing/painting classes. And, naturally, one also draws heavily on common sense and common decency. When a person agrees to pose nude for you, you have an obligation to treat them with respect. It is customary to provide robes for modesty during breaks, and I personally always found it important to describe to the model exactly WHAT I was going for and how they would be depicted. Even with obscured identities, I think it’s important that a person be comfortable with how they will ultimately be portrayed.
One of the most interesting and consistent things that happened to me 100% of the time, was seeing the same pattern unfold each time someone posed for me. Since I was using friends…..and one time even a friend-of-a-friend I hardly knew…….there was always the initial meeting where the person and I would discuss what we were going to do, and what I was looking for. Then I’d send them off to privately disrobe and put on a robe, or when I was working outdoors…...turn away as they removed their clothes. But then, inevitably, came the “moment of truth” when the robe would come off, or they would come into view and despite their willingness and daring, there would always be that awkward dual moment of “I’m naked and you’re not/I’m clothed and you’re not”. But what always surprised me, given our modesty-laden socialization, was how short that moment lasted. Soon the tone mutually shifted to all business as I tried to get what I needed for my work and my model strove to deliver that pose. I vividly recall walking right up to a particular female friend I had known for years, yet never had a relationship with, nor seen any more exposed than in a bikini at poolside, and physically positioning her totally naked body for the pose I needed without either of us thinking of anything more than getting the desired visual result. It was pretty cool when I thought about that afterwards.
Anyway, when I see this cute sequence of illustrations I see a situation where the ‘artist’ has the same compulsion I once felt, but crudely allows it to overtake the essential artist/model bond of trust. It is quite clear that the model was never informed that she would be depicted as the ‘victim’ of a spanking and is shocked and offended at having her image represented this way. What follows is ironic retribution…….which, in this case, seems more believable than most “unexpected spankings” because the victim is obviously a spanko to begin with and predisposed to the legitimacy of such an outcome. I therefore find it much easier to accept that the model could turn the tables on such an ‘artist’ (it would certainly have worked on me!) and teach her the quintessential lesson of ‘truth in art’: “paint what you see”.......along with a deeper respect for the feelings of her models. I love that the piece being done by the model will ultimately be more ‘honest’ than the previous rendering since the artist-turned-model is genuinely sporting the reddened backside she had fictitiously and surrepticiously imposed earlier. I also can't help smirking at the fact that the model will leave this studio with a perfectly unscathed bottom....despite how she might have been imagined or depicted, whereas the blonde artist will be feeling the reminder of this session for quite a while. My only quibble is that if I had done this series, I would have had the model fully dressed as she worked to complete the feeling of full turnabout, and I probably would have made sure to have the artist/model in the exact pose as her predecessor.
In conclusion I can honestly admit to one more BIG reason that I can relate to this sequence: over the course of my graduate school training, I had the privilege of using four different women as my models, and out of those four, two spanked me on several occasions, with one more coming very close. I also got spanked (just once) by a female student who was an adventurous friend as well as being the Technical Advisor in my Printmaking classes. The only thing was none of these spankings had anything to do with any artist/model faux pas.