Kirin and Peonies Three-Quarter Sleeve
Kirin and Peonies Three-Quarter Sleeve
Kirin and Peonies Three-Quarter Sleeve
A Creature That Walks on Clouds
The kirin is a hoofed creature of East Asian legend, said to appear only in good times and to walk so lightly that it bends no grass. On this left arm it comes down from the shoulder through clouds and red peonies. The sleeve was the client's idea. Its shape was decided by the skin that was already taken, and by skin that should have stayed free.
A Creature That Walks on Clouds
The kirin is a hoofed creature of East Asian legend, said to appear only in good times and to walk so lightly that it bends no grass. On this left arm it comes down from the shoulder through clouds and red peonies. The sleeve was the client's idea. Its shape was decided by the skin that was already taken, and by skin that should have stayed free.
Three Quarters, Not by Choice
The sleeve covers the left arm from the shoulder blade to the middle of the forearm. Two older tattoos were there before the first discussion: a band around the middle of the forearm and a line of kanji near the wrist. Both stayed. The band fixed where the sleeve had to stop, so the three-quarter length came from the arm, not from a preference. The chest and neck pieces visible in the photos are by another artist; this project is the arm.
Three Quarters, Not by Choice
The sleeve covers the left arm from the shoulder blade to the middle of the forearm. Two older tattoos were there before the first discussion: a band around the middle of the forearm and a line of kanji near the wrist. Both stayed. The band fixed where the sleeve had to stop, so the three-quarter length came from the arm, not from a preference. The chest and neck pieces visible in the photos are by another artist; this project is the arm.
The Plan Before the Plan Changed
The kirin is the shudai. Peonies carry the color, and clouds give the creature its element: a kirin belongs to the sky, so the atmosphere is cloud and nothing else. When the design was drawn, the chest and neck were open skin, and the composition was built with that space in reserve, to let the arm open onto the body later. By the first session both places were already tattooed. The design had to be corrected at the transfer, on the body, and some decisions became compromises rather than first choices. The clearest one is at the top: the sleeve that was meant to run onto the chest now closes at the shoulder line.
The Plan Before the Plan Changed
The kirin is the shudai. Peonies carry the color, and clouds give the creature its element: a kirin belongs to the sky, so the atmosphere is cloud and nothing else. When the design was drawn, the chest and neck were open skin, and the composition was built with that space in reserve, to let the arm open onto the body later. By the first session both places were already tattooed. The design had to be corrected at the transfer, on the body, and some decisions became compromises rather than first choices. The clearest one is at the top: the sleeve that was meant to run onto the chest now closes at the shoulder line.
Hooves on the Shoulder Blade
The kirin does not stop at the shoulder line. Its hind hooves step onto the shoulder blade, so the creature seems to enter the arm from the back, and the sleeve reads from behind as well as from the front. Its body is not shown whole: clouds and peonies cover parts of it, which lets the long form follow the turn of the arm without stretching. The band at mid-forearm closes the composition at the bottom.
Hooves on the Shoulder Blade
The kirin does not stop at the shoulder line. Its hind hooves step onto the shoulder blade, so the creature seems to enter the arm from the back, and the sleeve reads from behind as well as from the front. Its body is not shown whole: clouds and peonies cover parts of it, which lets the long form follow the turn of the arm without stretching. The band at mid-forearm closes the composition at the bottom.
Line, Ground, Line Again
The work took about six or seven sessions, roughly across 2024 and 2025, in the order I always follow. First a light sketch line to set the placement. Then the background, built and left to heal. Only then the final contour, in full brush-stroke weight, so the line lies on settled ground and not under it.
Line, Ground, Line Again
The work took about six or seven sessions, roughly across 2024 and 2025, in the order I always follow. First a light sketch line to set the placement. Then the background, built and left to heal. Only then the final contour, in full brush-stroke weight, so the line lies on settled ground and not under it.
What the Arm Kept
The sleeve holds together as its own piece: the kirin reads from the front and from behind, the peonies keep their color, and the clouds close the gaps the creature leaves. It is not the composition first drawn for this body. It is the one the body allowed by the time the needle reached it.
What the Arm Kept
The sleeve holds together as its own piece: the kirin reads from the front and from behind, the peonies keep their color, and the clouds close the gaps the creature leaves. It is not the composition first drawn for this body. It is the one the body allowed by the time the needle reached it.
More Projects
Other large-scale pieces from the studio, each built as one composition.
More Projects
Other large-scale pieces from the studio, each built as one composition.
More Projects
Other large-scale pieces from the studio, each built as one composition.
Your Piece Is Next
Every project here began as one conversation. Yours can start the same way.
Your Piece Is Next
Every project here began as one conversation. Yours can start the same way.
Your Piece Is Next
Every project here began as one conversation. Yours can start the same way.
© 2026 All Rights Reserved | Bardadim.Tattoo
© 2026 All Rights Reserved | Bardadim.Tattoo
© 2026 All Rights Reserved | Bardadim.Tattoo