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Body Art

By: Mystral



Body Art (by Mystral and Animal)

She had run away from home, throwing a few things into an overnight bag, barely thinking of what she’d flung into the dark recesses of canvas.  Driving as far as the tank held, she pulled into a gas station and asked for directions to the nearest motel.  The cashier probably thought she was nuts.  Her thick wool sweater for warmth dwarfing the cotton shorts she’d worn earlier that night. Her legs beneath her shorts, clad in thick socks and her gardening clogs were chilled, her hair hastily woven into a thick braid.  She’d incoherently babbled her request, her words punctuated by staccato stabs of intonation, tired but still livid.

No one could make her more furious than he could, no one could push her beyond all her boundaries the way he did when they argued.  Their arguments were both frequent and drawn-out; they were both strong and had opinions on everything, most of which were diametrically opposed. Any time they spent together was liable at some point to rise into disagreements over almost any topic, from politics to housework.

And yet, they sought each other like rain to parched earth. Their relationship was like a gravitational force, drawing them together to drink deeply of each other.  It was as if they had to explore everything, nothing had bars, nothing could be held back. It created an unusual dynamic for each of them, to test their own limitations, both good and bad.  Their relationship was fiery, tempestuous, and easily ignited into arguments that eventually melted into a cauterizing, healing passion which they could neither deny or escape.  They knew that while they were angry they couldn’t see that they were at the same place but with different ways of achieving their viewpoints. Their opposing thought patterns were consistent in their inconsistencies. What they did know was that they wound up with intense and insatiable longings, she for him and he for her. So close, they couldn’t see how alike they were, yet realizing their differences without understanding them. It would be a small thing for them to be on the same page, if they could ever allow themselves to see each other for who they were.

With each mile she put between them that night, she missed him more, becoming acutely aware of the distance, knowing he felt the same way.  The evening had started out calmly enough. They’d each finished long work weeks, and were looking forward to what promised to be a quiet, romantic evening. Things had been (for them) almost placid, and she wondered how long it would last.  The first stirrings of their emotional volcano began rumbled as they sipped a particularly good white wine after dinner.  They’d been discussing the rising cost of providing health care for employees. Their comments began to veer to the conservative and liberal views on subsidized health care. Inwardly, she sighed, knowing where they were heading, yet feeling her anger sparked by his lack of compassion for those who had no health care. And so it had began.

She knew the intensity he felt by the grip his large hand had on the wine glass’ stem, the tightening of his jaw, and felt the same surge of anticipation to debate her views, even as she longed to avoid it and snuggle deep into his massive arms. “Ah, well,” she thought as the conversation heated even more, “time enough for that later.”  But their tempers flared, then boiled over with a suddenness that startled her. This fight was different, more intense, more personal. There were no pauses, no backing away to be playful as a reassurance, before each scuffled into the issue again.

Finally, she’d had enough and realized it had gone too far this time. Neither seemed able to pull back and she felt herself becoming panicked to just get away from their words—and from him. As she got up, her wine glass banged jarringly on the table, and he reached out for her meaning to grab her and pull her to him, knowing that even for them, it had gone beyond what was acceptable. But his hand closed over thin air, and she didn’t see the reconciliatory gesture as she headed for the bedroom.  He picked up the wine glasses, taking them to the kitchen to rinse them out and give him time to think. As he turned off the water, he intended to go to her when he heard the door slam, and by the time he got to the door, he heard the car’s engine rounding the corner.

As she pulled into the motel parking lot, tired and feeling defeated, yet still hurt and harshly angry, she regretted leaving. But there she was, and at the thought of their argument, she felt her own raw anger burning hot again, and checked in for the weekend.  She called him from the room, and despite the hours that had passed and the regret they both felt, their tempers again flared. She finally told him where she was and that she’d be there for the weekend before she got off the line in case the whole thing erupted again, leaving him to his own thoughts.

That night, she slept fitfully, waking in an unfamiliar place to reach for him, but his scent was nowhere in the room. Finally, she got up, taking her bag to the shower, grimacing as she realized that she’d be stuck with the shorts she’d worn the night before. After a shower, she changed what clothes she could, and set out in search of breakfast.

Later, sustained with a large bottle of water and a map added to her large canvas bag, she headed out to the nearby lake. As she neared the end of town, she noticed a small art supply shop and stopped, buying a sketch book, some watercolors, and charcoal, along with an artist’s sketch pencil, settling them on the seat, glancing with a vague awareness that it had been too long since she’d had time to paint.  The last painting was of him as he slept, in muted shades of blue and gray, the colors playing around his features in repose.  The sky emerged through the long night behind her, bright and warm for late spring, with no hint of clouds. Following directions to the lake, she began try to understand their relationship. Sitting by the water, she pulled the sketchpad onto her knees, testing the pencils with her thumbs. She pictured his face, brushing her fingertips over the paper, feeling her way across the page with the touch of one accustomed to feeling for roughness and gauge, porosity and give.  It suddenly  reminded her of his cheek, just before he shaved.

As he worked in the yard,  peering down the street, his eyes seeking her car as if looking for a ship on the horizon, and he suddenly had the feeling of her fingers on his cheek, and then it was gone. Moments later, the sensation returned again, as if she were softly stroking his face.  He closed his eyes with an ache, before brushing the feeling aside with a shrug of irritation, returning to weeding the flower beds.  By the lake, she pulled her sweater off, catching her T-shirt in her fingers as it rode up with the sweater. His face fixated in her mind, and she began to sketch an outline of his features, roughly hewn and tender.  She recalled his face from memory, from touch, from scent and taste and everything between, his eyes slightly smiling, watchful.  She drew his eyes first, in such a way that they seemed to gaze back at her as she worked, craggy eyebrows that could lift sardonically, for emphasis.

She smoothed her fingers down the image of his nose, slowly smudging the lead to form a shadow, as if seen by the dim light of the reading lamp on her side of the bed. As she drew with the artist’s pencil, the images somehow reversed, transposed, and he began to think in degrees of color, remembering past times, the smell of her, the texture of her skin.  As she began to apply washes with the soft wash brush, layering color one coat at a time, he began to focus more in black and white, the things that are concrete, thoughts he could handle thinking about, the things he knew for sure, his love for her, his admiration, his need for her.

At first, he thought a trickle of sweat was running down his nose, absently brushing his fingers over his skin before returning to weeding the flowerbed. “It’s just sweat,” he thought to himself, mid-weed-tug paused. He closed his eyes to concentrate, and a sensation of the familiar feel of her fingertips brushed over his lower lip.  He closed his eyes to shake the uneasy feeling of dependence, adamantly refusing to admit even the word into his consciousness.

As the weather warmed up, she peeled off her thick socks, burying her toes in the grass as she sketched his mouth. On the paper, full lips emerged, smooth, slightly darker than his face, rubbing a touch of charcoal over her fingertip, and she began to create the rounded sensuality of his lower lip, having the sudden sensation that she was touching his lips, and found herself slowing her movements.  Short, sure rubs, the paper feeling more and more like his skin, a sense of three-dimensional breath.

As he worked in the yard, he looked down the street again, thinking he’d heard something. Unsure he returned to work, wiping the sweat off a dry cheek for the third time,  frustrating himself.  Then he remembered her touch, briefly, wistfully, and tried to brush it off, thinking crossly, “I have work to do, no time for this.” Yet, in that fleeting moment, he saw her form in the moon light as she removed her silk, her fragrance was the same as his lilacs blooming in the garden.  Suddenly, his mind’s eye held an image of her removing her sweater by a lake.

This isn’t sweat, he thought to himself, mid-weed-tug paused.  He closed his eyes to concentrate, and a sensation of the familiar feel of her fingertips brushed over his lower lip, the touch of a lover. Sitting back on his haunches, he welcomed the feeling, lips slightly parted in a silent sigh. He missed her, no matter how infuriating she was to him. The feel of her finger slowed, becoming more firm, more deliberate, more exploratory.  Dropping the weed in his hands, he concentrated on her touch, and knew something impossible, yet very  real was happening. Yard work forgotten, he went into the house, lying on the bed to focus on her, just as the sensation stopped. Breathing deeply, after a long night without her and the warm sun beating over his shoulders while he worked in the garden, he drifted fitfully off.

She shifted her hands from the paper, startled. She could swear that the charcoal-smudged lips on the paper had moved beneath her fingertips. She found it much easier than he did to suspend disbelief, and she gazed intently into the eyes of the image before her. They seemed alive, watching her to see what she would do next.  A small spider crawled over one crimson toenail. The sun grew a little more intense. Small children squealed in the water. An old woman, at the water’s edge, stopped and smiled, an ancient and knowing smile, before continuing her shuffling gait. All this was lost on the woman, who gazed at her lover’s eyes on the paper before her. 

Just as she realized the connection, he awoke, bathed in sweat, listening to the same eerie chuckle that she’d heard from the old woman, at once not of this world, yet so serene as to calm him.  A dawning awareness swept over her as she realized that he could feel her sketching, that he could feel it on his own skin. She felt him waiting. Touching the charcoal image, it felt alive. The old woman’s laugh drew her back to awareness with a start. Shuffling slowly towards her, the woman said with a sandpaper voice, with eyes both vividly alive and timelessly old, “You know what to do. All things are possible in a reality with no boundaries.” She looked down at the image of him on her lap, then back up to the old woman, who had somehow moved a quarter of a mile down the water’s edge, her thin laughter sounding faintly back to her. She stood up and headed back to the motel, the shadows of evening long in the distance.

In their bed, he waited. His hands stretched behind his head, eyes searching the dim coolness of the room, as if he’d see her somewhere in the shadows that played in the corner. Somewhere outside, he heard an old woman’s laughter, full of knowing mirth. Once in the room, she quickly pulled her clothes off, dropping them where they fell. She got the water glasses and the white plastic ice bucket and filled them with water. Pulling the bed table to face the bed, she sat on the bed, one leg straddling each side of the table and quickly began to sketch. Sketching each large sheet, revealing his body to her, charcoal in her fingers, switching to soft lead for watercolors.

His hands emerged as he lay on the bed, feeling pencils softly rubbing and her fingers. He held very still, his hands folded over his chest, fingers laced. He focused his attention on his hands, stroking the sides of her breasts in his mind, “Let’s see if she feels this,” deeply chuckling the words to no one in particular, knowing somehow that she did feel it. As the stroking on the backs of his hands slowed, he whispered, “don’t stop, wench,” closing his eyes again. 

Tipping his back, he felt her at his throat, totally trusting as she created contours and hollows. She’d stopped using the pencils, rubbing the charcoal over her fingers, creating their connection with fingers blackened, in sure movements, his body vivid in her mind. Their sensuality deepened into eroticism, each naked, miles apart and utterly together, the aroused and the arouser interchangeable.

As she worked, she felt his hands stroking her back with all the love and slow gentleness she knew he felt, but struggled to say. Tension and their argument forgotten by both as they reached out to soothe and comfort, excite and tease. Breathing quickened as she suddenly got a fresh sheet of paper and began to mix paints, creating a palette of colors that matched his swarthy skin, darker for shades and shadows.

In stark contrast to the white paper, her paintbrush created the image of his thighs. He gasped as she used the thick sable wash brush, slowly tracing the inside of his thighs, fingers splayed, not daring to breathe as the detail brush created shadows between his legs, going over his thighs, high up, near his balls with a dark sienna brown; the pleasure he felt was exquisite, painfully stiff as he was. He pictured her nakedness before him as he loved to have her, lying on the bed, his head between her thighs. With single-minded determination, he saw her, legs spread, her pussy swollen, lips parted enough to see her glisten, reddened, warm flesh that was his secret to enjoy. With his tongue, he licked her slowly, tracing up the length of her slit, sucking at her inner labia before continuing up to leisurely lap at her clit, feeling it stiffen, sucking at it, the small budding tip moving beneath his tongue in response.

With a cry, she felt his mouth, her breathing coming in staccato gasps. She fought to keep her eyes open, wanting to fall back on the bed as she felt his fingers spreading her open to enjoy. Dipping the brush into pools of watercolors with trembling fingers, she began with a fresh sheet of paper, long brushstrokes creating and lapping at him simultaneously, his cock turgid, the soft sable wetly painting his shape, his size, the veins and dips, the shadow beneath his head. She took the small detail brush and darkened the ridge between his head and shaft slowly, surely, knowing he felt it. 

The brushes were an agony for him, and he renewed his tongue movements, holding her open and taut, his thumb pushing her clitoral hood back to suck her clit into his mouth. Raising his head briefly, feeling his balls tightening beneath the soft pressure of her paintbrush, he growled, “go where you want, you can’t change the fact that you’re min.” before lowering his head again to her twat with a new onslaught on her clit, beginning to thrust his fingers in and out of her, curling his fingertips to rub against her G-spot.

A red haze filled her being, and she knew she’d cum soon. Dipping her fingers in a soft pink wash, with her other hand gathering her juices a bit at a time, mixing slick pussy juices into the paint with her fingers. Stroking them over his cock on the paper, creating a third dimension, her mind wrapping her hand around his cock with fragrant, slightly salty and slightly sweet nectar-thickened paint.

At the feel of her fingers, instead of her paintbrush, he began to involuntarily buck his hips up, pulling her up to him, forcing her over his hips, hands guiding his aching cock inside her pussy with a low noise at the back of his throat. Her paint and charcoal covered fingers splayed on his chest to balance herself as he held her by the hips, pulling her hard onto his cock, howling as she clenched against him, squeezing hard with the muscles she held him fast inside her.  He howled, the quintessential beast, as she clenched against him, squeezing hard around him, thrusting hard and evenly, impaled on his cock.

They toppled over the edge together, cumming long and hard, miles apart and inseparable, howls and groans interchangeable. In the midst of their orgasms, he grabbed her hands and she felt her fingers interlace with his. Spent, she fell on the bed and he began to emerge from the other side of intensity, each taking in great gulps of air.

Coming back awareness, each suddenly knew the ache of loneliness that they felt whenever they were apart, punctuated by deep, resonant sighs as their yearning for each other again began to build and resonate toward the other. With the remainder of her strength, she tried to tell him, “I’m on my way back, baby.” Simultaneously, knowing her as he did, he tried to tell her to sleep, rest before coming home. As they each fell asleep, aching for the other, neither heard the other’s message, yet they both knew they’d said it, sent unerringly across the miles. And somewhere, an old woman laughed in delight.

Body Art



She walks into the bedroom and sees a plastic sheet covering the bed. She looks to the other side of the bed and sees him wearing nothing but a towel wrapped around his hips. She raises her eyebrows inquiringly and he just grins. She gestures to the bed.

"What's all this?"

He bends down and raises a tray setting it on the foot of the bed.

"I'm going to create a masterpiece."

"Oh, really?"

"Yes! So strip, you're my canvas."

She giggles as she undoes the buttons of her shirt and tugs it off. She runs a finger over the lace of her bra lightly watching his eyes watching her. She dips her finger into the cup of her bra and rubs it back and forth. Arching her back she slides her hands down over her breasts and farther down over her stomach. She brings one hand back up and cups her breast in her hand, squeezing lightly, then slips the clasp open in the front. The bra parts as she shrugs her shoulders and lets it drop to the floor behind her. She licks her lips as sees his cock swelling under the towel.

Her hands drop to the waistband of her jeans as she pops open the button. She grasps her zipper in her fingers and tugs it down, pulls it back up and pulls it back down again. She hears his low growl and giggles again. Tugging at the sides of her jeans she drags them slowly down her legs, bends to remove them from her feet and tosses them into the corner of the room. Stands straight to reveal a small slip of silk covering her pussy. He gestures for her to take it off also. She dips her thumbs into the waistband at her hips and peels it off down her thighs, over her knees and lets it drop to the floor, kicking it out of the way. She runs her hands up over her thighs and hips, over her stomach and cups her breasts in her hands, gently squeezing them together. She hears him suck in his breath.

"Get on the bed, on your stomach."

She responds by climbing onto the bed and lies down on the sheet. She squeals as her stomach hits the cold plastic. She settles herself comfortably and lays her head on her crossed arms. Closing her eyes she relaxes as she feels him climb onto the bed and kneel beside her. She hears the tray slide over the plastic as he pulls it near and raises her head to look, but he puts a warm hand on her back.

"Don't, just feel."

She lowers her head back down with a sigh. She hears a whisper of sound and concentrates, trying to identify it. She feels a feather-light touch on her shoulder, stroking inward towards her spine, and then another, and another. She can feel the soft bristles on the brush glide over the nape of her neck. She lets out a small moan, sensing his grin rather than seeing it. He passes it over her nape again as he knows ALL her really sensitive spots. There is a pause and then the brush is passed over her other shoulder and across her nape. She can't help but squirm a little as she can already feel herself getting wet.

He coats the length of her spine and passes over that little spot at the base that ALWAYS makes her moan. She doesn't disappoint him, letting out a heartfelt moan. She raises her head but keeps her eyes closed.

"What are you doing?"

He gives a grunt and a barely intelligible hush in response.

"An artist never reveals his art until it is complete."

She giggles as she lowers her head once again. A larger brush is passed over her sides and back. She squirms again as her skin starts to become sensitized. She hears his shift on the bed again. Then he lifts her foot up and drags the brush over the bottom of her foot. Her eyes pop open as she squeals in surprise. She tries to put her foot down but he tightens his grip and holds her leg still, chuckling.

He lightly paints over her ankle and she moans again, never realizing that her ankle was an erogenous zone. She really thought she knew them all. He lightly brushes up over her calf and around to her shin. He hears her giving off little sighs of pleasure although she is unaware of them. He moves the brush up over the top of her thigh and brings it down to the back of her knee. He lowers her leg to the bed and picks up the other leg.

He repeats the process: first over her foot, she giggles as he paints her toes, over her ankle where she sucks in a deep breath, up her calf, to the front of her leg, the back of her knee. Lowering her leg to the bed, he grabs her ankles and spreads her legs wide on the bed. She gasps in surprise but that gasp changes into a deep moan as he starts to work the brush over the inside of her thighs. Alternating first one and then the other, back and forth. Her breath escapes in breathy little pants. Slowly he works the brush over her soft thighs. She squirms her hips, hoping, wanting, needing his to touch her pussy, her clit. She has never been so wet, so hot, so needy.

He picks up a wide brush from the tray at the same time she opens her mouth to beg him to touch her. He slides the brush over her thigh and up over her ass cheek. She moans loudly in response, forgetting what she was going to say. He drags the brush from side to side, up and down over her ass. He slowly drags it between the cheeks of her ass and her hips rise off the bed involuntarily. He sits back and pauses, looking over her body, coated in body paint from shoulders to feet, she was a feast he could gorge himself on. 

Sensing he was done for a moment, she raises her head.

"Are you done? Can I get up now?" "Ok" he says "Roll over now."

She rolls onto her back glancing at him. She sees the paint smears and droplets on his body, the towel stained with it. She pushes up on her elbows and starts to sit up. He stops her with a paintbrush on her breasts. She blinks at him, a little startled.

"Oh no! I'm not done with you yet."

Her eyes narrow as she lies back down. He laughs out loud.

"And don't give me that 'I'm-gonna-get-you look'."

She giggles softly as she closes her eyes. He picks up the brush and very lightly draws it over the top of her left thigh. He hears her gasp of pleasure. She shivers as he trails the brush over her right thigh coating it in paint. He grasps her leg in his hand and nudges the other until she understands she is to spread her legs again. She moves them apart and he glides the brush over the inside of her thighs. She can feel the muscles in her legs twitch. He draws the brush up, up, up her thigh. She finds herself holding her breath in anticipation of the brush touching her pussy. But he draws out the anticipation by moving the brush up over he thigh to her hip. He moves to the other leg, gliding the brush up her leg and over her hip. She lets her breath go on a sigh and takes a deep breath, waiting, waiting, waiting for the next sweep of the brush and where it will land next.

He dips the brush and brings it to her shoulder, dragging it over her collarbone from one side to the other. He can see her quick intake of breath. He smiles as he dips the brush again and glides it down her chest in between her breasts. He watches her squirm as he moves the brush around the underside of one breast and around the top, not touching her nipple, which beads in anticipation of the brush's touch. He repeats the strokes of the brush on the other breast, under and around. Circling the bristles around and around. She can feel her chest heaving as she tries to draw in enough air. Abandoning her breasts for the moment he picks up the wide brush and drags it over her stomach and ribs. She tries not to but the giggles escape anyway. He chuckles along with her.

Once her torso is covered in paint, he sits back and looks at her. She cracks open one eye and looks at him inquiringly. He shakes his head as he picks up the smallest brush and she closes her eyes once again. Dipping it into a small jar, he hovers over her breast for a moment and then starts to make small circles on her breast, ever getting closer to her nipple, but still not touching it. She can feel herself getting wet, so wet, wetter than she has ever been. As he torments one breast and then the other, she starts to squirm, her breath coming in shallow pants.

"Please stop."

"Stop what? This?"

He asks this as he drags the brush over her neck. She shakes her head.

"This?"

This time he asks as he circles her left breast with the tip of the brush. She nods her head.

"Oh sorry. Wasn't aware it was bothering you."

He laughs at her growl. Finally ending her torment, he dips the brush into the jar and slides it over the sensitive bud of her nipple. He back arches off the bed as she feels the bristles drag across her nipple. It has never felt so sensitive. As she gasps for air he drags the brush across the other breast. Her low moan of pleasure spurs him on to repeat it. He does it again, again, and again. As she is on the very edge of having an orgasm as all the signs point to, he stops and sits back, watching her face. Her breathing slows and she opens her eyes as she hears him shifting on the bed. She watches as he kneels between her legs.

She struggles to remain calm but knows the anticipation is just half of the fun. She watches as he dips the smallest brush into a small jar and brings it up. He looks into her eyes and smiles, a very naughty smile. He lowers himself on the bed and with one swift stroke, paints over the lips of her pussy. She arches off the bed, the sensations almost too much. She moans long and low. He continues to paint over her outer lips, outlining her pussy with delicate strokes of his brush, bringing it back up he starts to retrace her lips, this time taking more time, making little loops and swirls. Her hips squirm in response to the brush's bristles being pulled over her lips. 

Having painted her lips, with feather light strokes of his finger, he spreads the paint evenly over her pussy lips. His fingers gently tugging her pussy lips apart. With each stroke she feels a cool flush of air as more of her pussy is exposed, then covered. As he holds her lips slightly apart, he dips the brush into the jar again and starting at the bottom of her pussy, he lightly drags it up hovering just over her clit as he presses the brush to it, and over it. She screams as her hips involuntarily arch off the bed, sensations rocketing through her body. He does it one more time, and then again. A scream is wrenched out of her as her orgasm slams through her, wave after wave, spasm after spasm. He dips his finger into the jar and paints over her pussy again where her juices ran and washed the paint away.

"Wow!!"

He just grins at her .

"It's not over yet, baby."

He starts to lower himself onto the bed, slowly kissing over her knee, sliding his tongue over the paint on her thigh. He looks into her eyes as he licks his lips and moves closer to her pussy. With a sudden twist of her body, she flips herself over and onto his back. He is momentarily stunned but recovers rather quickly. She's giggling as she pushes him over onto his back and straddles his hips. 

"Oh oh! I know that look."

She grins down at him and slowly reaches for the jars of paint. Dipping her fingers into the jar, she brings out a blob of paint and holds it over his chest. She grins more and slaps it down onto his chest, slowly pushing her fingers through it. He looks up at her and asks casually as he watches what she is doing.

"What are you doing?"

She responds with a little chuckle.

"I'm finger-painting."

She feels his chuckle tumble through his chest through her fingertips as she pushes the paint around. She slides her palms over the muscles, kneading gently yet firmly as the paint spreads. She watches his face as his eyes slide shut and his breathing increases. She had felt his hard cock when she straddled his hips but as her hands travel over his chest, shoulders, up and down his arms, she can feel him harden even more, lengthen, pressing against her pussy. She wiggles her hips as she continues to glide her hands and fingers over the dips and valleys of his body. She slides back until she is sitting on his thighs, effectively trapping him underneath her, or so she thinks.

She dips two fingers into the jar and holds them over his stomach letting them drip paint onto him. She watches as his stomach muscles contract as the paint hits. She passes both palms over his chest, slick, wet. She glides a finger through the paint as she makes a big heart over his chest and stomach. He chuckles as he realizes what she'd drawn. She smiles as her finger travels lower, lower. She circles his navel with her finger and dips it inside. She reaches over for the jar and dipping one finger into the jar, she brings it out and drops the blob of paint on the tip of his cock. She hears him suck in his breath. Using only her finger, she smears the paint up and down his shaft, round and round his head, over and over. She loves the feel of his cock, steel sheathed in satin, so smooth, so hard and so incredibly yummy.

Thinking she is still in charge she wraps her hand around his cock and start to stroke up and down slowly, the paint making her hand slide with ease. She sees a bead of pre-cum appears on the tip and slips her thumb over it, mixing it with the paint. She lifts her thumb to her mouth and flicks out her tongue, licking it clean. She looks at his face and sees him watching her. Their eyes lock as he reaches out a hand and slides it between her legs, his thumb stroking her pussy, finding her swollen, hot and so wet. He brings his thumb to his mouth and duplicates her actions, cleaning his thumb. He hears her low moan.

"That is such a turn-on."

"I know." He grins up at her.

She reaches once more for his cock but he wants more. He wants his mouth on her and her mouth on him. She gives a squeal of surprise at the ease with which he flips her onto her back on the bed. Suddenly he is looming over her. She hears him growl softly.

"Playtime is over."

He lowers his head to her mouth. His mouth locks on her, they kiss passionately, deeply, using their lips, their tongues, even their teeth to nip. She arches her body into his, craving his weight on her. Slowly he slides his mouth away and moves to her shoulder. He licks at the paint there and hums in appreciation. She raises her mouth and does the same to him, licking at his shoulder, his chest, anywhere she can reach.

He flips her over again, this time onto her stomach. With a lick that starts at her nape, he drags his tongue straight down her spine to that little spot at the base of lower back that he tormented earlier. He sweeps his mouth back and forth over her back, ribs and sides. He can't get enough of the taste of her; the body paint in various flavours, the fine sheen of perspiration and her own special unique taste combining to make a heady combination. By the time he is done with her back, she is whimpering and squirming against him. He shifts on the bed and reaches for her, drawing her legs up and placing them on either side of his head. He stares at her pussy and draws one finger closer, just touching her lips. He slides it into her pussy once, then out. His finger is coated with her juices and the combination of different flavours of paint. She moans low in her throat and reaches two fingers for the jar, dipping in and coating his cock once again. She opens her mouth and at the same time as his tongue laps at her lips, she sucks his head into her mouth. Neither one hears the other's moan of pleasure, so caught up in giving pleasure to the other. 

She opens wide and lowers her head, taking him in fully, pulling her head back up and lowering again, just very lightly grazing her lips on his hard cock. She can feel it throbbing in her mouth. Her tongue licks off the paint on the tip, her lips and tongue take care of his shaft. She brings one hand around and wraps it around his cock, squeezing firmly, stroking easily up and down as her hand is still coated in paint. He nibbles and licks all the paint off the outside of her pussy. With his tongue he delves a little deeper. Now the paint is mingled with her juices. He drags his tongue over and over her pussy, not touching her clit. She bucks her hips as she sucks him hard and deep into her mouth. He finally, very lightly, licks over her clit. He hears her moan, muffled with his cock in her mouth. He does it again as she tips her hips, trying to get more.

He reaches out a finger and dips it into the jar, then coats her clit with it. Grasping her hips he pulls her closer and plants his face directly in front of her pussy. He licks once, twice, again. He feels a drop of her juices hit his chin. As she gets closer and closer to cumming, she sucks on his cock harder, deeper, stroking him with her hand and mouth, surrounding him with heat. He continues to use his mouth and tongue on her, licking, nibbling, sucking, her hips bucking against him. She feels his hips pump his cock in and out of her mouth. She sucks harder, faster, knowing he is very close too.

He presses his tongue against her clit and wiggles it back and forth as he slips a finger deep into her pussy. He hears her moaning around his cock as her orgasm rolls over her. He opens his mouth and sucks at her pussy as her juices dribble down his throat. She sucks hard and feels him start to cum into her mouth. She swallows as his hot cum is shot down her throat. She hears his groan as she slows as he is drained. She lightly uses her tongue and lips to clean him off. He slowly turns his head and licks her thigh, using his tongue to get the paint off. He feels the shiver that goes through her.

She rolls off to her side, totally boneless, covered in smeared paint. He looks over at her and smiles.

"Now, THAT was art."

He picks her up and walks to the shower. All she can do is smile and lick some paint off his shoulder.



Body Art – Branding



Author's note; This is not intended as a how to guide. This is merely to increase your knowledge on this subject. Always hire a professional.

Branding is an extreme form of temperature play. Basically, short curved pieces of metal are heated with a blowtorch, then pressed into the skin so as to make an ornamental burn. 

There are several methods of branding. The first of which is single strike branding. Single strike branding is just that. An iron is heated and pressed into the flesh just once. 

Repetitive strike branding is when a brand must be hit multiple times in order to create a specific design.

Electro-cautery branding is defined as using a Medical Cauterizer to "Draw" a picture. This is not unlike burning leather.

The electrical method is best used for complex designs. On the downside though there will be a lot more smoke from the evaporated skin and the smell will be much worse. I'm also given to understand it hurts A LOT more. 

There are inherent dangers using a single strike brand. Movies and books make a lot out of single strike brands. But you can't brand your slave like you would a cow. In order for a brand not to damage the surrounding tissue you have to use thin wire. A large solid metal brand may extremely damage your property.

My personal favorite is repetitive strike branding. This is usually done with a propane torch and small bits of wire. Anywhere from 12 to 18 gauge stainless steel wire. The strikes are not as painful as the electrical method and much safer in my opinion than a large single iron.

I prefer to immobilize the area to be branded. I would not like to have a marred piece of work because the subject could not take the pain. I've seen it done without immobilizing the area to be branded. Generally there is not a problem and the subject is able to hold still. But I'd rather be safe than sorry.

First, sterilize and shave the area. It's best to ink on or stencil on the pattern much like doing a tattoo. Wire may be bent into the appropriate designs and held in a pair of vice grips. Then heat the wire in a torch. Don't heat the vice grips. As the first mark is laid down there will be a sizzling sound, which anyone who's ever burned themselves, or cooked bacon, knows quite well. Your subject will flinch even though you've immobilized the area. The skin will suddenly open, almost as if it was melted apart. A puff of smoke will fly up, and there will be a familiar sensation... the smell of burned meat.

Keeping in mind the general principle that tissue burned to the third degree will expand (spread) from three to five hundred percent the stencil will become more of a reminder than a guide. This is why I stress that you should never brand anyone yourself. Find a competent body modification specialist.

The artist's job is to conceptualize the healed brand by taking into account numerous factors. The type and size of the design, Runes, Letters, Numbers and other Symbols that share simple, wide open designs often produce the most readable brands. Multiple strike designs need to be carefully planned out. Second, where on the body will the brand be placed? A flat area, preferably away from any bones and not above any vital organs is best. Yes, a brand may be placed in these areas, but not without proceeding slowly and cautiously. Sometimes repositioning the body will redistribute fat and muscle, flattening a previously unsuitable location.

Differing gauges of wire can be combined in different ways to create complex, multi-strike designs. A piece of scrap metal the same size as the iron can be used to test the metal's melting point. Using a pair of large, insulated pliers, hold the mock iron in the flame of a propane torch and watch closely for any distortion in the metal. Some grades of metal will turn red hot for a moment and then fade. Some will not change at all. If the metal distorts it may have been heated unevenly or been to thin or too small. Experiment on scrap metal until the perfect mix is discovered. A hand held, propane torch and an assistant to hold the torch are key ingredients in a successful brand. 

Third, the duration of the heated strike. The amount of time the iron remains on the tissue . Quickly removing the iron should result in a light scar. Leaving the iron in place (with out adding pressure) usually makes a heavier scar. Never push hard. Practicing on soft cardboard and room temperature chicken breast is a must. 

Lastly, the aftercare a brand receives greatly affects the finished result. Different things work for different skin types. The location and surrounding area are cleaned using alcohol gel. The skin is scrubbed thoroughly in one direction. The cleaning should be done at least twice. The iron itself should also be sterilized. Since the brand itself is a third degree burn, cauterization takes place. 

Most brands take from three to twelve weeks to heal. 



Body Art: Piercing



Body Art: Piercing



Another form of body modification is piercing. Piercing has also been around since the dawn of time. 

Nose piercing was first recorded approximately 4,000 years ago. The Bible in Genesis 24:22 Abraham requested his oldest servant to find a wife for his son Isaac, the servant found Rebekah, and one of the gifts he gave her was a "golden earring" the original Hebrew word used was Shanf, which also translates as "nose-ring".

This practice is still followed among the nomadic tribes of Africa, and the Bedouins of the Middle East. The size of the ring denotes the wealth of the family. It is given by the husband to his wife at the marriage, and is her security if she is divorced.

In India there are records dating back to the 16th Century. A stud or a ring is usually worn in the left nostril, It is sometimes joined to the ear by a chain, and in some places both nostrils are pierced. The left side is the most common to be pierced in India, because that is the spot associated in their legends with the female reproductive organs. The piercing is supposed to make childbirth easier and lessen period pain.

It took America a little longer to adopt nose piercing. We don’t find any record until the late 1960's. It was later adopted by the Punk movement of the late 1970's as a symbol of rebellion against conservative values, and conservative people like parents and employers still don't react well to it, so consider their reaction carefully before getting it done.

Tongue piercing was practiced in a ritual form by the Aztecs. The tongue was pierced to draw blood to gain favor with the gods, and to allow communication with the gods. 

Tongue piercing is one of the most popular piercings, it's shocking, provocative and fantastic for oral sex (for both sexes), but at the same time no one need know you have it. 

The oldest mummified body in the world was found frozen in an Austrian Glacier in 1991, tests showed the body to be over 5,000 years old. The body had pierced ears.

Ears were probably first pierced for magical purposes, very many primitive tribes believe that demons can enter the body through the ear, because demons and spirits are supposed to be repelled by metal, ear-piercing prevents them entering the body. Sailors used to have an ear pierced to improve eyesight, and if the bodies washed up somewhere it would pay for a Christian burial. In many societies ear piercing is done as a puberty ritual, in Borneo the Mother and Father each pierce one ear as a symbol of the child's dependence on their parents.

Ear piercing is an almost universal practice for men and women. At various times in history men wore elaborate earrings; during the Elizabethan era many famous men such as Shakespeare, Sir Walter Raliegh and Francis Drake wore gold rings in their ears.

"As the Roman Republic grew more effeminate with wealth and luxury, earrings were more popular among men than women; no less a he-man than Julius Caesar brought back to repute and fashion the use of rings in the ears of men."

"Jewels & Women; The Romance, Magic and Art of Feminine Adornment" Marianne Ostier, Horizon Press, New York, 1958

LIP LABRET PIERCING HISTORY ^TOP^

The piercing of the lips for the insertion of objects into them is very widely practiced throughout the world. Most lip piercing is done with labrets, which can either be a pin of wood, ivory, metal, or even in one case quartz crystals. Among the tribes of Central Africa, and South America the Labret piercing is stretched to extremely large proportions, and large wooden or clay plates are inserted.

Among the ancient Aztecs and Mayans labret piercing was reserved for male members of the higher castes, they wore beautiful labrets fashioned from pure gold in the shape of serpents, golden labrets with stones inset and ones of jade or obsidion (labret in Aztec "Tentetl"). The Native Americans of the Pacific Northwest, and the Inuit peoples of northern Canada and Alaska wore labrets fahioned from walrus ivory, abalone shell, bone, obsidian, and wood.

The piercing of the septum is probably the second most common piercing among primitive peoples after ear piercing, it's even more common than nostril piercing. The septum piercing is particularly prevalent among warrior cultures; this probably has to do with the fact that large tusks through the septum give the face a fierce appearance. The Septum piercing was beloved by the Aztecs, the Mayans, and the Incas. They wore a variety of jewelry, but jade and gold were the most popular because of their religious associations. 

Septum piercing was widely practiced by many North American Indian tribes, the name of the Nez Perce, tribe of Washington state, stem from their practice of piercing the septum, Nez Perce, is French for Nose Pierced, and was given to the tribe by the French fur traders. 

Navel piercing is a modern invention and has never been recorded in primitive cultures; however the navel has long been recognized as an erogenous zone, because of the difference between men's and women's stomachs. Women's stomachs differ from men's in that they are more rounded in the lower part, are longer than men's, have a greater distance between the navel and genitals, and are more deeply recessed than men's; these features are often exaggerated by artists to make women appear more feminine in paintings.

We find in the 14th century find low plunging necklines on dresses. Queen Isabella of Bavaria introduced the 'Garments of the grand neckline’; where the dress was open to the navel. This open display soon led to nipple fashion and among higher caste women it became common to find diamond studded rings or small caps on their nipples. And even more daring to pierce them and pass gold chains through them decorated with diamonds.

In the late 1890s the 'Bosom Ring', came into fashion briefly, and sold in expensive Parisian jewelry shops. These were inserted through the nipple, and some women wore on either side linked with a delicate chain. The rings enlarged the nipples and kept them in a state of constant excitation.

The benefits of having your nipple pierced are the same today as they were for the fashionable ladies of Paris and London in the 1890s. It makes the nipples larger, more sensitive, more sexually attractive, and provides a constant stimulation of the nipples. It provides greater sexual pleasure because it gives your partner something to play with during sex.

The Prince Albert piercing is named after Prince Albert who was the husband of Queen Victoria of England. He was reputed to have had this piercing done prior to his marriage to the queen around 1825, at that time Beau Brummel started the craze for ultra tight mens trousers. Because the pants were so tight, the penis needed to be held to one side or the other so as not to create an unsightly bulge. To accomplish this some men had their penis pierced to allow it to be held by a hook on the inside of the trousers, this piercing was called a "Dressing Ring" at the time because tailors would ask if a gentleman dressed to the left or the right and tailor the trousers accordingly, tailors to this day will ask if you dress to the left or right. 

The Prince Albert Piercing is very effective for sex. It provides greater stimulation to both partners during sex, and it has the added allure of being somewhat kinky, people always have to wonder what it would be like to have sex with someone with a genital piercing. 

Now let’s move on from history to problems associated with piercing. There is a lot of information here and it’s all things you should be aware of. If you want a piercing don’t let the following information stop you. But know the risks so you can minimize any side effects. Also and I can’t stress this enough, find an experienced artist who cares more about you as a client than as a piece of art he can show off.

Piercing the warning label. 

Jewelry can sometimes be pushed out of the body like a sliver

Given the choice, your body doesn't want foreign objects inside itself, and that includes a piercing. If it is "easier" for your body to push the piercing out like a splinter than it is for your body to heal a fistula (skin tunnel) around it, it will. 

This is especially true for a surface piercing.

Fibrous scar tissue formed when the body over-responds to trauma

Keloids are a specific kind of fibrous scar tissue — most people make the mistake of assuming that all piercing-related scarring is keloiding. Keloids are more likely to occur in those with black and/or asian genetics. Keloid scars can extend well past the edges of the original wound/scar and tend to be darker in colour than hypertrophic scars. 

While one can try and treat keloid scarring with steroid injections it is not usually effective and surgical removal is often the only option. It should also be noted that even after removal keloids may re-occur. Keloids are best avoided by minimizing the source of irritation (ie. taking out the piercing or changing the jewelry). 

Due to bad placement or an increase in the size of the piercing, a piercing may become overstretched, the tissue surrounding the piercing may not all "grow" evenly. Rather than expanding to meet the stretching, it may simply thin out. 

Thinning is also caused by weak spots. Weak spotsmay occour in the surrounding tissue, that tissue will tend to take all the stretching, often by thinning. Outside of overstretching alone, weak spots are most often caused by one of two ways: 

Weights are NOT a good way to stretch. Weights put far more pressure on the bottom of a piercing than the top, and tend to wear away and thin out this tissue. Do not stretch using weights. Stretching should be accomplished by gradual increase in size of the jewelry. 

Bad placement is the second way. For example, if a lobe piercing is placed close to the edge of the lobe, it has a natural weak point. When stretching, the forces will focus on that point, eventually breaking it. 

If you notice a piercing thinning out, you are probably out of luck on further stretching on this piercing. You may be able to surgically correct this problem. 

Safety pins are generally made of low-grade steels that are not at all suitable for body piercing. If you pierce with a safety pin you can expect at a minimum to have an allergic reaction, and you may also experience other side-effects leading to peripheral complications. For example, your body may adhere to the safety pin, making it very difficult to remove. 

If you absolutely must use a safety pin, it must be made of an implant-grade stainless steel or titanium. A small number of body jewelry companies can manufacture these for you. 

Aside from the risks generally associated with piercing guns, piercing studs themselves are simply not usable as body jewelry for two primary reasons. Earr piercing studs are simply not very long. They were designed for ear piercing, and most body piercings pass through more tissue. Thus, using a piercing stud compresses and damages the tissue, making it much harder to heal. Piercing studs are typically 18ga or 16ga, which is too small to safely do most body piercing. There are of course a handful of related issues, primarily related to the piercing gun, not the stud

If you get in a car crash, fall out a window, or just slip on some wet rocks at the beach, your piercings, may, effectively become shrapnel. If they are impacted with a large force the may be driven into your body. Now on a side note doctors and emergency response teams may not be aware that you have body piercings and may assume that any twisted metal they find in your skin needs to be removed immediately. In addition, in the case of an impact, nasal and oral piercings can most certainly present an inhalation risk. 

Hypertrophic scarring is heavy scarring that appears around a piercing or other wound. The main reason that they're different from keloid scars is that you can make them go away (they are also slightly lighter in colour and do not extend past the original scar). 

Most people, including many artists will mistakenly call all scars keloids when in fact hypertrophic scarring is more common. Hypertraphic scars both go away with treatment, and with time. 

Treatments include collagen-reducing steroid injections or topical creams, as well as other methods such as silicone sheet pressure and other homeopathic l methods 

Abscess occurs when a bacteria invades tissue and white blood cells engulf the bacteria and die. The white blood cells accumulate as pus because they can't be drained. Tissue eventually grows around the abscess, surrounding and isolating it in an effort to block the spread of infection. If these walls rupture, the infection can spread throughout the tissue and eventually the entire body. 

Abscesses can happen procedurally from contaminated tools or needles, but more often occur because normal skin bacteria, gets trapped inside the piercing wound and is not drained or cleaned properly. Diabetics and those with impaired immune systems are at increased risk for developing abscesses. Parts of the body where blood flow is minimal are also at higher risk. 

Symptoms include pain, tenderness, heat, swelling, redness and/or fever. Abscesses in piercings usually manifest themselves as raised pinkish bumps between the edges of the piercing. 

Some abscesses may heal spontaneously, but most need to be drained by lancing a hole directly into the abscess so that the body can be rid of the fluid. Antibiotics are usually prescribed but in fact rarely help heal the abscess because it is isolated by the body's own tissue. Abscesses are most frequently found with surface piercings which do not adequately drain

Boils commonly occur when a slight tear happens inside a piercing and normal skin bacteria gets trapped in the tear, which then heals. These circumstances are somewhat similar in nature to an abscess. 

Boils are small, raised pink to red bumps located directly beside a piercing (rather than between the two entrance holes, as with an abscess). These bumps usually have pus in the center, which appears somewhat like white-head acne. 

Treatment consists of several hot compresses per day. Effective treatment has included everything from herbal soaks to saltwater, though an antibiotic ointment applied twice per day yields the best results. If and when the boil ruptures, bleeding should be encouraged in order to drain the boil of blood and pus. A doctor may prescribe oral antibiotics as well, and healing can take from 10 to 30 days. 

Boils most commonly occur on nostril and nipple piercings, though any non-oral piercing can develop a boil.

Diseases carried and transmitted in the blood (many sexual diseases and others, including of course Hepatitis and AIDS) can be passed from person to person if there is either direct (ie. blood on blood) or indirect (blood on object on blood). 

Direct contact can occur if an artist pierces you and then sticks them self with the needle accidentally (they'll be affected, but not you). It can also happen if two people are doing play piercing and their blood comes in contact (for example, if a person with blood on their finger from their own wound pierces another person). To put it simply, don't put yourself in contact with anyone's blood that you wouldn't be 100% comfortable having unprotected sex with. 

Also known as "cross contamination", indirect contact is when something bloody touches an object which then touches another object which then touches another person's blood. Each step along the chain is potentially contaminated, so every object touched could give you the diseases in the source blood. That is why artists change their gloves at certain steps during a procedure! It should also illustrate that if you go to a careless studio, getting one piercing could suddenly force you into an unprotected orgy with thousands of people. 

Nipple piercing-related factors can lead to serious problems with a woman's breasts: infected milk ducts are a possible risk when dealing with trauma to the nipples. This condition is similar to a problem breast-feeding women can experience. 

Minor infections can travel deeper into the tissue quite quickly, infecting milk ducts. Normal signs of an infected piercing may not even be visible. There might be a lump (warm to the touch, possibly discolored) that forms somewhere away from the nipple on the breast. 

Antibiotics can often treat them, or, in slightly more serious cases, lancing (like you'd do for a boil) can be done in the doctor's office. Untreated though, it can easily lead to surgical removal of the infected milk ducts or the entire breast. Worst case, an infection of this type can literally kill you.

When a piercing is overstretched, the healing skin tunnel (fistula) can be forced out the back of the piercing as an unsightly "blowout". In addition, some people will experience some discomfort feeling like pins and needles. Minimize the chances of this happening by stretching the piercing slowly and listening to your body. 

If it does occur, do not stay at that size of jewelry! Immediately reduce the jewelry and allow the blowout to absorb back into the tissue. If you do not do this, the tissue will heal like this and it will become very difficult for you to repair in the future. 

It is essential, especially in female nipple piercings, that the jewelry be large enough to allow the ring to sit comfortable, and to move freely. A ring that is too small will put uneven pressure on the piercing, increasing the chances of migration and rejection. In addition, it will sit low and be quite difficult to move.

In general, nipple piercing does not affect breast feeding unless something goes very wrong in your healing (extreme scarring, mastitis, etc.). There are about twenty milk ducts that exit the nipple, and a single piercing should do little to no damage to this system. That said, you should of course take the rings out while you're actually doing it.

There is however a remote chance that an infection from a nipple piercing could damage milk ducts (again: remote chance) and jeopardize breast feeding, even after the piercing is removed. Certainly it's worth considering the risks. It's a remote chance, but when it comes to offering the best health for your child, many future parents will choose to draw the "better safe than sorry" line very far on the "safe" side. 

You can always get them pierced afterwards!

Heavy bleeding can cause shock, but so can injury (ie. piercing, cutting, suspension, and so on) and some peripheral events such as allergic reactions and serious infections. It needs to be emphasized that shock can be life-threatening; be prepared to do rescue breathing and CPR. Because of that I strongly urge anyone who's working or playing in an environment where people could go into shock to have up-to-date CPR and first-aid training! 

While the vast majority of people with modified nipples will experience enhanced sensations, it is possible for minor nerve damage to cause numbness.

While not truly a "risk", it should be noted that after piercing, most people will experience enlarged nipples (which are far more likely to show through a t-shirt for example). It's also important to note that for most people, this enlargement will not go away even after the piercing is removed. 

This enlargement can also occur from regular play piercing and other heavy nipple play — not just from permanent piercings. Enlarged nipples from heavy play piercing may look like bulbous scar tissue that some won't find aesthetically pleasing. 

It is an unfortunately and frighteningly common phenomena in the younger generation of mod doctors to put a greater emphasis on the modification than the needs of the client. 

If your procedure is risky (for example, implants on top of a forearm), the practitioner should explain to you why the procedure can't be safely done, and discuss your alternatives with you. Only the worst most dangerous hacks will do a procedure that isn't safe "because the customer insisted". They will either work with you to develop a safe alternative, or not do the procedure at all. 




Body Art: Piercing



In the course of discussing all this with you, they will be listening to what you're saying, and assessing whether you understand the implications of the procedure and are ready for it. If they don't think you are ready, they will -- and SHOULD -- tell you either that they won't do it, or that you're going to have to ask them again in six months. 

Always respect this golden rule:

The "client safety factor" always outweighs the "mod coolness factor". Always.

Since many genital piercings are self-done by people with very little experience piercing, it is not surprising that they tend to be on the timid side, and find themselves with unacceptably small and/or shallow placements. 

Genital piercings probably take more real-world abuse than any other piercing. Properly done though they should bring you pleasure, not problems. 

As such, genital piercings should never be done in a gauge smaller than 12ga. In addition, the placement should be suitably deep so as to allow the piercings to survive the stresses they'll be put under. 

Some people don't like the way that genital mods feel. Most people either like them or are indifferent, but there are definitely people who do not enjoy the feeling. If it's just piercing, there's no reason why you can't take them out for sex (although maybe that defeats the purpose and you'd be better off changing partners than changing jewelry). 

If your mod is genital beading or subincision or something equally irreversible, do consider the fact that it will dramatically limit your future sex partner options.

Anything that slows the flow of urine sets a foundation for infection. In addition, when genital piercings become infected, they can transfer this infection up into a urinary tract infection. In addition, anything placed into the urethra or bladder can draw infections inside the urinary tract -- it is essential to make sure that any urethral toys are as sterile as possible. 

If you think you have a UTI, go to your doctor, who will, after a urine test, prescribe antibiotics which should clear it up quite quickly. Oh, and cranberry juice, while it helps, is not going to magically cure it on its own. 

Genital warts (HPV) affect between 1 in 10 and 1 in 5 people in the United States. It is the most likely STD for you to come in contact with, and many people who suffer from it are unaware of that fact. 

It is not unusual for genital warts to "grow out of" fresh piercings. In addition, if your fresh piercing comes in contact with warty tissue it can almost immediately sprout warts of its own. 

For example, if you get your tongue pierced and then give oral sex to someone with genital warts, you could soon after have giant warts flowering out of the top and bottom of the piercing. Alternately, if you have genital warts and get a genital piercing, it is possible for the warts that you didn't know you had to suddenly flower out of that piercing hole. 

While genital warts do often just go away on their own, that is usually less common in these cases. You should DEFINITELY see a doctor if this happens to you. 

Piercings bleed. Genital piercings may bleed for a couple of days. As such, basic logic tells us that a fresh piercing opens your bloodstream to the environment. Full healing takes at least a month, and during that time period your blood is much more accessible to microbes. 

Most STDs (sexually transmitted diseases) are transferred by blood to blood contact, usually passing through small tears in the genitals during sex. Having a fresh piercing dramatically increases the chances of this transfer happening. 

If you have unprotected sex with a fresh genital piercing or other related procedure, and either you or your partner has an STD, your chances of passing it are very high. 

While it's generally not a good idea to have sex with a fresh body modification, if you do choose to take that risk, it is very important that you use protection.

While most body modification procedures do involve some blood loss, in most it is minimal and should require no first aid treatment let alone be worried about on any larger level. However, there are times when blood loss can be significant, both intentially and unexpectedly. 

It should be noted that blood loss almost always seems like more than it is at the time. The majority of the time simple direct pressure can stop the bleeding. A cold compress may also help with swelling. Heavy bleeding that doesn't stop after this may require medical treatment. 

People with bleeding disorders (hemophilia, etc.) will of course bleed more and since their blood can't properly clot should be taken more seriously. 

It is certainly not unheard of in some of the sexually explicit procedures for the artist to be motivated by their fetishistic drive to do the procedure. In other words, they may get off on piercing you. 

Now, there's nothing wrong with someone being aroused by the thought of a procedure. When it becomes a problem is when it starts clouding judgment. You don't want to be in a position where the artist is motivated primarily by their own sexual drives (rather than by a desire to help you achieve your personal goals). 

Almost universally, a good way to identify a responsible artist is that they'll go to great lengths to ensure that you're ready for your procedure. That you're mentally stable and able to handle it, and they'll even try and talk you out of it often to gauge your drives. 

The most obvious way to identify a fetishistic artist is if they make "scene details" (ie. what you're wearing or not wearing, doing the procedure while you're in restraints, etc.) a priority, you can bet that is where their head is at. Unless that's what you're LOOKING FOR (and I'm not saying there's anything wrong with this happening as long as it's consensual), avoid these practitioners. 

If the bead comes off of a piece of oral jewelry (or nasal jewelry in rare cases) it can be swallowed. In general swallowed jewelry passes through the digestive tract within a few days totally harmlessly (although in rare cases an object can become stuck requiring either tube removal or surgery). While not recommended, if you swallow a bead or a ring there's not really much in the way of complications -- outside of anxiety -- that should be expected. If the entire bar is swallowed (is of course pointy) it could in theory damage your gastrointestinal tract, but this is rare. 

If you swallow a bar or larger piece of jewelry, you should check your stool to make sure it passes (to put it simple, shit in a strainer, and then sift for gold) -- if you don't see the jewelry in a few days, call your doctor and get their opinion. Eat a high fiber diet (whole grain breads, cereals, fresh fruits and veggies) until you pass the jewelry. Do not take any laxatives (although milk of magnesia is OK). 

If you start throwing up, gagging, choking, etc. seek medical care immediately (assuming it's not just an anxiety attack). Same goes for if you have stomach pains, bleeding from your rectum or blood in your stool, or are running a temperature.

If loose jewelry in your lip, nose, or mouth opens accidentally you may aspirate (breathe in) the jewelry and/or the bead. If this happens, seek medical attention immediately. 

Minimize this risk by always making sure the beads on your jewelry are properly affixed. 

Overall, tongue piercings are by far the safest and easiest piercing both to get and to subsequently deal with. As with all body modifications though, there are risks you need to consider.

When jewelry rest against your gums, there is erosion over time, just like water dripping on rock can dig a hole over years. A piece of metal rubbing on your gums can rub a hole in your gums, exposing the roots of your teeth. 

Obviously, this puts you at dramatically increased risk of gum and tooth disease, and risks the loss of the affected teeth altogether. Expensive surgery is needed to correct this problem, so if you notice it starting, deal with it immediately. 

This risk can be minimized with careful choice of jewelry (determined by the shape of your anatomy) -- although other factors such as smoking, diet, and even just genetics also play a role. A professional artist can help you with this, including suggesting alternative jewelry if your gums are being eroded by what you are wearing. Please note that when this happens it is generally irreversible so don't let it progress if you notice it!!!

Chipped teeth are by far the most common risk for oral piercings. It's a simple commonsense fact that if you bite down hard on a piece of metal, like a steel bead on the end of a steel barbell, your teeth will break before the metal does. 

Chipped teeth, on top of being sensitive, painful, and ugly, put you at a heightened risk of tooth infection, leading to far greater problems, and can be costly to fix properly.

The chance of chipping your teeth can first of all be minimized by wearing properly sized jewelry. In a tongue piercing, the bar should fit snugly with the tongue. If you can annoy everyone by playing with the barbell over your teeth, it's probably too long. 

Seriously, I can't emphasize this enough -- the 3/4" (or so) barbell that you first get your tongue pierced with is long to accommodate any swelling. You MUST go back three to five weeks after the piercing and get a shorter bar. If you do not, you quite likely will chip your teeth at some point in the future. 

Additionally, make sure that the beads are properly affixed to any oral jewelry, if it comes off while you're eating, it can chip your teeth easily as well. 

Other than that, you can minimize this risk by choosing softer non-metal beads (or soft gold beads), but these are not really in common circulation.

While the tongue is highly vascularized (served by the deep lingual artery/vein) and will bleed during the procedure, severe bleeding is extremely rare. If it does happen though, you need to seek immediate medical attention. 

All tongue piercings swell. For most people this means that the tongue will swell to about 50% larger than its normal size (which is why fresh tongue piercings are usually done with a 3/4" bar, and when healed require a 1/2" bar) for two to seven days and then gradually returning to normal over three to five weeks. In addition, the lymph nodes in the area may become enlarged and tender during this healing period. 

This swelling is nothing to worry about in general, but it will negatively affect your speech, taste, and ability to eat during the initial healing period. You can help it by doing sea salt / saline rinses. In addition, if you do everything that involves your tongue (eating and talking) slowly and carefully, your "retraining" and healing will be quicker. If the full swelling continues past a week, you should definitely visit your artist for a follow up. 

In extremely rare cases the tongue can swell enough to actually block the airway -- this is known as "Ludwig's Angina" and occurs when the connective tissue, both in the tongue and in the surrounding area, becomes in famed. If this occurs, seek immediate medical attention, if you don't you could DIE. 

If oral jewelry (tongue or lip related) is rubbing on teeth, it can erode the enamel over time, leaving you more susceptible to dental infections. Minimize this risk by having properly placed and sized jewelry. Not all people's anatomy allows them to have these piercings without negative anatomical interactions -- if you are one of these unlucky people, you're probably better off without the piercing.

Lemierre's Syndrome is an extremely rare disease which has tentatively been linked as having tongue piercing as a potential trigger. As of mid-2002, there has been a single case of a 15-year-old boy in San Diego. It is important to note that a single small infection in a piercing can travel inward and become much more serious.

In some people a lip ring that rests between two teeth can actually cause some spreading of these teeth in the long term. 

When piercings passing through cartilage become infected, it is possible for an infection to become trapped between layers of cartilage. When this happens, infection can spread very rapidly and literally destroy an ear within a period of a day or two -- since the cartilage is the structural element of the ear, even after you've cleared the infection, permanent damage can easily be done. 

A serious infection of this type should be immediately treated by a doctor. Again, this type of infection can spread and grow very quickly, so if this happens to you do not hesitate to visit an emergency room!

Not everyone's anatomy is suited to the popular industrial piercing, and far too many artists are willing to pierce them anyway. This results in a placement which rather than cleanly passing perpendicularly through the rim, bisects the body of the cartilage on a shallow angle. 

As a result, you're basically asking your body to heal an unviable surface piercing in your cartilage. Best case, it rejects it with minimal scarring until it relocates itself to the rim (if you have one there). More likely though, a keloid or other scarring will build up around the piercing to compensate. Additionally, chances of infection -- which can be quite serious are dramatically increased. If your anatomy is not suited to a mod, don't get it

Under normal circumstances there is no way for your hearing to be damaged by a piercing. Sure, if an artist slips, falls, and rams a needle through your eardrum, then you could have hearing loss, but that's just not going to happen. 

As far as an infection traveling inward and doing such damage, but it's one of those "one in a million" things; you're just as likely to lose your hearing from scratching your ear and having a cut from your fingernail get infected and travel inward. 

Large gauge conch piercings and other piercings that noticeably alter the structure of the ear will however make slight differences in the ability of your ear to channel sound (like a funnel) into the inner ear. The degree of this change should be extremely minor in normal circumstances.

And lastly in the urban legend category, while there has been debate that the minor irritation from piercing as well as some of the materials involved could marginally increase cancer risks, there are no known/documented links between cancer and body modification.



Body Art: Tattoos



Body Art: Tattoos

Tattoos have been around since the Paleolithic area and have even been found on the frozen corpse of a Bronze Age man. Most tattoos through out history have been of the blue ink variety. Only recently have other colors become available. Even black light sensitive tattoos are now available.

Tattooing was originally a tribal thing; in fact Borneo is one of the few places in the world where traditional tribal tattooing is still practiced today just as it has been for thousands of years. Until recently many of the inland tribes had little contact with the outside world. As a result, they have preserved many aspects of their traditional way of life, including tattooing.

The Chinese considered tattooing a sign of barbarism and used it only as a punishment. Tattooing was widely used to identify criminals and outcasts. Outcasts were tattooed on the arms: a cross might be tattooed on the inner forearm, or a straight line on the outside of the forearm or on the upper arm. Criminals were marked with a variety of symbols which designated the places where the crimes were committed. Tattooing was reserved for those who had committed serious crimes, and individuals bearing tattoo marks were ostracized by their families and denied all participation in the life of the community. For the Japanese, who valued family membership and social position above all things, tattooing was particularly severe and terrible form of punishment. On the flip side of the coin many Polynesians considered it beautiful and the women as well as the men sported tattoos. 

Tattooing officially fell into disfavor with the church in the 797 A.D. when it was associated with paganism. Druids openly wore blue tattoos as a sign of achievement in their faith. The Catholic clergy citing that it was a sin to “damage that which was fashioned in God's image” threw tattooing into official disfavor.

Tattooing has been practiced in the US since 1840. However from then until the early seventies tattoos were simple monochromatic designs. In the early seventies artists began experimenting with different color inks and designs. Back then most tattoos were set images rather than truly custom pieces. Most tattoo shops still prefer the ‘bank’ of images rather than anything truly custom, but custom work is in greater demand now than ever before. 

The methods used in tattooing have greatly improved as well. Before the invention of the modern tattoo machine or ‘gun’, tattoos were harder and more time consuming to acquire. The artist would use tools such as sharp bone and rocks to prick the skin. Then when enough holes had been punctured the artist would rub powder into the wounds. As these healed the powder would stay under the skin. Modern techniques are much faster, safer, and more elegant. The modern machine is a gun-shaped machine for creating a tattoo, i.e. marking skin with ink. Tattoo machines utilize electromagnetic coils in alternation to move the needle bar up and down, which drives the pigment into the skin.

The basic machine was invented by Thomas Edison, and patented in the United States in 1876, as the autographic printer, which was intended as an engraving device. In 1891, Samuel O'Reilly found Edison's machine could be modified to introduce ink into skin, and patented the tube and needle system, which is still use today. In fact, modern tattoo machines are essentially the same machine as the one O'Reilly invented.

Questions and answers on tattooing.

Legally you must be at least 18 to get a tattoo unless your parent is with you and they sign a release form.

Prices on tattoos vary greatly with the work demanded. A set image tattoo that is one color may only be around thirty or forty dollars. The more complex you get the more it will cost. Eventually there is a charge by the hour price. Normally about fifty dollars

If you’re an artist or even if your not you may design your own tattoo and any competent artist will be more than happy to take your money and give you what you want. Remember complexity and size equal cash.

You may place a tattoo anywhere on your body that you can talk an artist into. The real difference is in the pain threshold. Areas with less fat such as your feet, hands and head will hurt the most. Then areas of your body that are always clothed will be a little tenderer than those that are exposed. There are also nerve centers in the body. If your artist hits one of those it’s really going to hurt. The places most people put tattoos is on their upper arms or thighs. They hurt the least. Shoulder blades and ankles are also common. 

Most tattoo shops use a sterilizer to sterilize their equipment. The shop where I have mine done promises a new needle for every customer. If you call around they will tell you about safety. After all the want you to come back.

Eating before getting a tattoo is a good idea. Your metabolic rate will be up because of the adrenaline generated, and you’ll want to keep your energy level up.

Try not to go swimming or tanning until your tattoo heals. Both would be harmful to your tattoo. Remember you will have this tattoo for the rest of your life and screwing it up is something you’ll have to live with for a long time.

In that same vein, let’s talk after care for your tattoo. I’ve never met two artist’s with exactly the same outlook on this so let me post a few guidelines. Leave your tattoo bandaged overnight. Remove the bandages carefully, if they stick to you apply warm soap and water. Wash the area firmly with warm water and mild soap. Keep your tattoo covered in ointment until it heals. Neosporin is the best ointment for the job.

Despite popular TV shows, tattoo artists will generally not work on you if your drunk. Being drunk generally means you’ll be moving. Moving during a session is bad. If the artist makes a mistake he either has to cover it or let you live with it. Also a tattoo artist that makes mistakes generally gets into a lot of fights.

If you plan on getting a tattoo in a hairy location, let the artist shave you. Also watch out for tattoos that would look bad hairy, such as putting a picture of your mom on your very hairy chest. In a couple of weeks she might look like the bearded lady.

Covering, it is possible to cover a tattoo with a different tattoo, this is however subject to limitations. Tattoo ink is translucent, meaning that a dark tattoo will show through a light one. Tattoo removal is also medically possible. Great strides have been made in the last few years on this. It used to be that you could tell who had removed a tattoo by the horrendous scars. Modern science has mostly reduced the scarring effect. It is also possible to cover scars with a tattoo, but it is generally wise to wait five years for the scar to fade.

All tattoo artists must start out somewhere. I demand to look at sketches the artist has done and pictures he has taken of his work. I also look for an artist that has been doing this for several years.

Can tattoos have hidden meanings? Yes for a lot of people getting a tattoo marks something significant and they love to tell the story about it. Two tattoos that I will warn you about though are a tear drop under an eye, or spider webs on an elbow are generally announcements that you have killed someone and gotten away with it. 

Last and certainly not least I did mention that black light tattoos are now available. One very significant side effect of this particular ink is death. It’s poisonous, so finding an artist that will mark your body using this ink may be a chore. And yes there have been deaths caused by this.

WARNING: For my last piece of advice I should mention that tattoos are addictive get one give it a year or so and you’ll want another and another.