The Importance of Innovation and Design

[Joe W.]

For several years I have been studying the elements of traditional design themes, styles,construction,etc. of Japanese blades as well as European swords (I love a good smallsword). What I've consistently run into is REDUNDANCY of colors, themes, and styles to the point that none of the edo style mounts or reproductions of Crusader,Baskethilts, or rapiers has any appeal left in them at all for me.

In much the same way, standard double edged longswords or fully polished shinogi-zukuri Katanas, be them of complex pattern welded steel or pristine monosteel all seem "antiseptically clean" or devoid of the character and soul that a blade should exude.

So I have begun working alot with different types of texturing on the flats of blades, inspired by Don Fogg's past works, as well as various patinas. To me it offers a non-forced depth to a blade, blending artistic expression with a natural finish and giving the steel some character. I admire the hammer-finished blades that some of the neo-tribal knifesmiths are working with, and I love a good leaf-blade that has fire-blued blacksmith style fittings of the style I've seen in some of Al Massey's work.

I've recently collaborated with fellow Forumite Antonio Cejunior who I learned was offering sword design services for a very reasonable price. We have been discussing the patination and texturing/corroding of steel surfaces for some time, and Antonio designed a perfectly balanced modern set of fittings for a textured shobu blade I had described to him. I normally do not "plug" anyone's work, but I feel that the Professional Design Service that is offered by Antonio is of such quality and virtually the only place that I have found to cater to blades, that I heartily endorse his work, and recommend you use his services should you ever purchase that one-of-a-kind heirloom blade.

So I am asking for some feedback and opinions of moving into modern-style fittings and different looks to blades. Please check out the Textured Shobu Design and let me know what you think.

Where do you see blades evolving, both European Forms and any other ethnic style? If you prefer the tried and true fittings themes,shapes,materials,etc., what draws you to them?

[Scott Byler]

It seems to me that it is a very broad question, really. I think that once or twice we've discussed on SFI the direction or 'evolution' of the sword in modern times. Some think it is time to try new forms and some believe that because the sword is an anachronism that real evolution of the blade is impossible. Both may be right for all that I know...

On the other hand, the art side of blade design is fairly wide open, really. Everything from non functional to functional designs of infinite forms. Whether they will appeal to a lot of people or even to a few is anyone's guess...

Part of what is hard to answer about your question is that many people seek different things in a sword. Some love the historical form above any and all and change in any large way from that form will be viewed as wrong. Some look for aesthetics alone, some for proven forms of functionality, and so on...

Personally, I think both the traditional form and the artistis form have their places. Sometimes, if a person is lucky the same blade will fulfill both functions, even...

I'd say do what talks to you design wise. Anything else will probably make you unhappy...

Oh, and the design work looks pretty good to me on the 'Textured Shobu'...

A question about the forge textured work for you, though... Do you worry that a blade done with that technique is more likely to hide small flaws or cracks that could cause a blade to fail? I have no real opinion on that, but I remember a discussion here a month or 3 back about forge texturing and noted some concern that this might be the case... I'd be most curious what you think of it...

[Joe W.]

Thank you very much for your reply.

I have never really been able to separate out art vs. tool in a blade. Even the most utillitarian piece, if well done, has artistic merit to me.

As for the texturing causing stress risers or hiding cracks, this is always a possibility. Doing as much of the work cold, through chiseling, carving, dremeling,etc. would help to reduce this problem, as will proper normalizing,quenching,etc. For the Japanese-style stuff, keeping the textured area well hidden beneath the clay, and a mar-quench on Euro-style blades, should reduce the chances of microfractures and outright cracks. Proper testing will also help to reduce the chances of a flawed blade getting out, but even on a finely polished blade, there's a chance that there are undetected cracks or internal flaws. Swords are dangerous all the way around.

[Glenn Morrill]

You know. This reminds me of my knife I designed and had made, ( I will always say this when talking about the only custom knife I own. Since it was the first of my many knife designs I have drawn to become reality). The flats were to be a bead blast gray finish and the bevels to be a satin finish. As wth all my knives I own with the gray finish I eventualy sand them down to a smoothe charcoal gray. Well, I did this to my knife I designed. When to my eye I noticed pitting that the bead finish covered up. At first I was pissed that the maker didn't polish then bead the finish. But after looking at it I now love the acient look the finish has. So, I myself know what you mean by the same finish over and over.

[Russ Ellis]

Personally when I'm looking for a sword I want a historical design not something modern. Of course that's mostly how I got into swords (through a love of history that is) so those predjudices are mostly my own I suspect. This topic has been discussed before and as was mentioned above there are some of us that believe that the evolution of the sword ended when the sword became obsolete as a fighting weapon. However on reflection that isn't entirely true, today the sword continues to evolve but as a target cutter and aesthetically rather then as a combat weapon. I think the original post in this thread bears this out.

[Antonio Cejunior]

Hi Joe and everyone,

I guess you are too modest yourself and do not include your own superb qualities without which none of these projects could go ahead. I must thank you for your more than kind words. As I once more repeat, the way I found to free myself from any constrains is not to take myself too seriously.

I must salute your post. It’s a pleasure working with you and I must say that I do agree with your words. I have voiced this also at least two times, but it seems that innovative ideas take sometime to digest. However I have time and again referred to BLADE as a symbol of how sword design is heading presently. I myself have designed the
Lalique Sword long ago, around 1999 or early 2000.

Allow me to fill in for Joe as far as this tanto is concerned.



This shobu textured tanto will be for sale at Joe’s website as soon as it is completed. And I must add to Joe’s information to Glenn, that Joe, like any bladesmith I know and have dealt with, would never place something for sale that was not fully tested and secured. I have exchanged enough emails with Joe to feel assured that this can be accomplished.

My purpose in designing swords is solely fulfilment as I don't think that the symbolic fee that I charge would make my purse heavier at all. And I’m far too old to look for exposure and far too young to give up fighting for my ideas that I see we share.

Although I've noticed that Russ states in an opposite direction, which I respect, I have no prejudices. However the historic argument is not convincing to me. Because the main characteristic of History is exactly the narrative of evolution of mankind. One just cannot separate history in compartments such as social progress, technological progress, and philosophical progress as well as other achievements of men and then suddenly encrust swords and crystallize them in time. It just does not work like that.

Actually when it is said that this theme has been repeated, I would like to add that it has not been repeated enough apart from the fact that it is forgotten that a huge amount of threads and post in the Forums are mainly repetitive. Repetition is what we are mainly witnessing and still I don’t criticize it. But I don’t see this argument as valid at all for it is contradictory in its essence for the reasons just explained.
What I say is that we should all be open enough and not place ourselves in ghettos of any type. I am against ghettos or any ways of segregation. It took too many people and too many lives to fight against any kind of fascist segregation or exclusion.
No one is above anyone, and segregation is just mainly a result of fear, of weakness. Well this is encrypted, and not directed to any of you folks who posted, rest assured

I feel I have the authority of talking about innovation because I own traditional and antique blades up to now, and I like them all. I just feel that after 25 years as a professional designer I would want something totally unique.

But personally I also grew tired of going round and round the same shapes and styles, with masked variations. I do appreciate Nihon-tô and Euro blades, but while I'm sensitive to the first one out of the metallurgical activity and the study of ancient koshirae that are alien to our Western culture, hence another aesthetical perspective, I view History as an important source, not to be re-enacted time and again like the never-ending story, but again because History does not stop where you want it to stop. Yesterday was history, tomorrow is future.



See this sword by Rick Barrett? Is it a rapier? Its his vision of a rapier and his personal style is well recognizable here. Anything against it? Its called Wraith and I refuse to include it in the category of fantasy blade.



And these blades by Joe, are they not innovative? Or do we need a large blade to consider it innovative?

So in fact, Russ, I respect your belief that the evolution of the sword ended when the sword became obsolete as a fighting weapon but in a civilized and friendly manner I would like to state that I disagree. And I will explain why.
Justice is represented in many countries by a woman holding a sword and a scale. The sword is a symbol and because it has rendered obsolete, it can now evolve in another directions. It is part of human nature to question, to seek. That is why symbolism is so important. Yesterday I fell asleep watching Highlander 2 but I was awake enough to notice the re-invention of baptism when Sean Connery, after pointing out Christopher Lambert as the chosen one to face general Katana. They both deep their hands in a bowl full of energy instead of water, and Sean makes a sign in Lambert’s forehead. Want a better example of the power of creativity bringing a two thousand years old ceremony with a new language? And the chosen one, isn’t it a repetition of the Messiah, or of King Arthur and many other tales?

I urge you all to read this article Clarity and Virtue as it brings a great insight into the symbolism of the swords.

Rant mode off
You all have a wonderful weekend.

[Antonio Cejunior]

Originally posted by Scott Byler

Oh, and the design work looks pretty good to me on the 'Textured Shobu'...

A question about the forge textured work for you, though... Do you worry that a blade done with that technique is more likely to hide small flaws or cracks that could cause a blade to fail? I have no real opinion on that, but I remember a discussion here a month or 3 back about forge texturing and noted some concern that this might be the case... I'd be most curious what you think of it...

Hi Glenn,

Forgot to thank you for the encouraging remark
The rest I've answered. I do agree that all swords can live together. Just keep the mind open for change. More changes on the way actually

Got to rush out to a meeting on a Saturday afternoon

[Glenn Morrill]

Antiono, have you seen the "Conan" style sword I am designing? If not I think it is still posted in the fantasy and movie sections of this forum. Glen of Viking Metal Works likes the simplisity of the design. Well, I myself must go. Working over time today.

[Antonio Cejunior]

Originally posted by Scott Byler


Oh, and the design work looks pretty good to me on the 'Textured Shobu'...

Hi Scott,

Apologies, I thanked Glen and replied to him instead of you.
But I guess you noticed the goof.

Hi Glen,

Yes I saw the sword when you posted Thank you for leading me again to see it.

If you noticed I mentioned that I fell asleep while watching Highlander, and I have never seen a Conan movie. Just not my type of film. When I referred to movies I forgot to say that I was referring to contemporary era movies. Not Period or Fantasy movies. With all due respect, of course

Best regards

[Russ Ellis]

Originally posted by Antonio Cejunior


Although I've noticed that Russ states in an opposite direction, which I respect, I have no prejudices.

First I'd like to say no problems over the disagreement Antonio. This forum would be a rather bland and uninteresting place if we all agreed about everything.


I feel I have the authority of talking about innovation because I own traditional and antique blades up to now, and I like them all. I just feel that after 25 years as a professional designer I would want something totally unique.

But personally I also grew tired of going round and round the same shapes and styles, with masked variations. I do appreciate Nihon-tô and Euro blades, but while I'm sensitive to the first one out of the metallurgical activity and the study of ancient koshirae that are alien to our Western culture, hence another aesthetical perspective, I view History as an important source, not to be re-enacted time and again like the never-ending story, but again because History does not stop where you want it to stop. Yesterday was history, tomorrow is future.

I think that you like a lot of people who create new designs are doing so because you want something that looks new/different/unique. There's nothing wrong with that. However I'm not convinced that any of the new designs I've seen are in any particular more effective as swords. It is my contention that the sword's evolution as a weapon ceased when the sword quit being used as a weapon.


See this sword by Rick Barrett? Is it a rapier? Its his vision of a rapier and his personal style is well recognizable here. Anything against it? Its called Wraith and I refuse to include it in the category of fantasy blade.

Actually to my mind it looks a lot more like a saber specifically that saber (the 1911?) model that Patton designed, with a rather odd guard and grip. I don't know what else you would call that sword except a fantasy piece. It isn't a historical reproduction. It wasn't designed to improve its abilities as a useful fighting tool. I wonder what Rick calls it....


So in fact, Russ, I respect your belief that the evolution of the sword ended when the sword became obsolete as a fighting weapon but in a civilized and friendly manner I would like to state that I disagree.

I did try to qualify that statement to whit:
However on reflection that isn't entirely true, today the sword continues to evolve but as a target cutter and aesthetically rather then as a combat weapon.

I would say that this point is pretty accurate. As I mentioned above the swords evolution as a fighting weapon ended when they cycle of use and change was broken by the sword's obsolescence. Today any evolution will be driven not by use (except in the case of specialized target cutters) but by the way it looks or as you mention the symbolism it represents. Those aspects i.e. pushing the aesthetics envelope or making the sword mean something in a modern sense frankly don't interest me. As I mentioned my own predjudice.

[Antonio Cejunior]

Hi Russ

It is a pleasure reading you and your civilized manner.
Each of us have different urges or needs. Yes, I acknowledge your statement that
today the sword continues to evolve but as a target cutter and aesthetically rather then as a combat weapon.
and that I forgot to include.

As for Rick Barrett's rapier, I did not call it a rapier, he did. And yes, he designated it as a Fantasy sword, which is a word that does not sound well into my universe. If it became a reality, it ceased to be Fantasy. No, I'm not the one playing with words.
I am restricting myself to the original ethimology

I ought to catch Rick and argue with him about the definition

Well today is Sunday here, and it is great that we can cordially disagree

Have a wonderful Sunday, Russ

[Bjorn A.]

I think we can blame makers of stainless steel 'battleready' sword-like-objects for tarnishing the word "fantasy".

In my mind, and in Russ' mind, fantasy means it is a work of fiction, often inspired by Lord of the Rings and other fantasy books or films. Thus, Thoronath and Adanadar are fantasy swords as well, in our mind. This does in no way make them bad swords.

I personally love Barrett's fantasy pieces and would purchase them in the blink of an eye had I the necessary money lying around. Alas, I am but a poor student.

Poor students do tend to save up money for purchases though, and I am no different. I make sword purchases from time to time, and wishing them to be special, since they are quite far between, I often draw my own designs. However, I'd have to call my preferences traditional in comparison to this shobu zukuri tanto and it's a good thing we have different tastes since I will now get the opportunity of seeing pictures of the tanto and my mind may sway.

So thank you, Antonio and Joe, for trying new ground, even though the design might not be in my taste at the moment.

[Antonio Cejunior]

Originally posted by Bjorn A.

Poor students do tend to save up money for purchases though, and I am no different. I make sword purchases from time to time, and wishing them to be special, since they are quite far between, I often draw my own designs. However, I'd have to call my preferences traditional in comparison to this shobu zukuri tanto and it's a good thing we have different tastes since I will now get the opportunity of seeing pictures of the tanto and my mind may sway.

There are no rich or poor students. There are only students, no matter the age. The moment you think you know all, well... you're done.

So thank you, Antonio and Joe, for trying new ground, even though the design might not be in my taste at the moment.

As for my part you're most welcome. As for taste, I once heard that it is something like a good wine. It refines with time. Ever tried a vintage?

Anyway I am very curious of what will be the outcome of the blade you are doing will come out. Care to post it?
Look forward to it

Have a wonderful Sunday

[Sherman Chow]

Hi Joe.
First of all, I have to say that I'm a real big fan. William Frisbee's wakizashi really grabbed my attention, and Antonio's chokuto is really stellar (By the by what is the difference between maple and maple burl?)!

"What I've consistently run into is REDUNDANCY of colors, themes, and styles to the point that none of the edo style mounts or reproductions of Crusader,Baskethilts, or rapiers has any appeal left in them at all for me....If you prefer the tried and true fittings themes,shapes,materials,etc., what draws you to them"

Wow, I must say that I'm constantly amazed by antique Japanese mountings. I suppose you've seen a helluva a lot of nihon-to if things look redundant.

I really do prefer the traditional and historical look to Japanese swords. One reason for this is that really beautiful Japanese swords are those that have that unifying theme in its mountings/style.

For example, when I see mountings like on this thread,

http://forums.swordforum.com/showthr...&threadid=9309

my jaw just drops. That is really awesome looking stuff there. Take that wave fuchi/kashira set on that thread. I've seen alot of wave themes out there, but that set takes the cake. It just looks right to me.

With Japanese fittings I always liked the idea that you express your ideals, your themes through the fittings and color scheme of the entire sword. Essentially, all the parts of a sword combined to make a beautiful weapon/symbol of and for yourself. One sword that I've recently seen that is beautiful as both a whole and its parts is Big Tony's L-6 katana here,

http://www.swordforumbugei.com/ubb/F...ML/000086.html

I really like what I've seen of most of the antiques. And on a more modern spin, I really like Patrick Hastings' work. I think that he can make a traditional fittings, and a good blend of modern & traditional themes. I think that he can capture that old world feel with modern themes. I really enjoy his Sea Maiden theme,

http://www.bladefittings.com/Galleri...lery1_Home.htm

Though it is not exactly a traditional theme IMO, it still has that flavor of Old World to me. However, his Old Samurai theme is pretty traditional as it is inspired from an antique.

http://www.bladefittings.com/Galleri...lery1_Home.htm

(Edit: I can't seem to get those Bladefittings links to work. Just scroll down and click of "Sea Maiden" & "Old Samurai")

All in all, I like traditionally styled mountings with moderate hints of modern themes.

Joe, it worries me that your post here sounds like a creative mid life crisis. It sorta sounds that way to me. Which ever direction you see yourself heading I hope you feel content.

In much the same way, standard double edged longswords or fully polished shinogi-zukuri Katanas, be them of complex pattern welded steel or pristine monosteel all seem "antiseptically clean" or devoid of the character and soul that a blade should exude.

I hope you don't feel this way with your own blades. If it means anything to you, I believe that all swords created by hand exude character and soul simply due to the fact that it was made by a human and not a machine.

"The sword is a moment in a man's history, frozen forever, captured in steel." - Randal Graham. Some sayings have never sounded more true. If anything a "man's history" exhibits a great deal of character and soul. So if your statement above does not apply to your own work, then disregard my words. But if you do feel your traditional styled swords are devoid of character and soul than please remember my words as a fan.

Sincerely,
Sherman Chow

PS whatever happen to that most amusing avatar of yours?

[Joseph Renner]

I would call the blade innovative.
The mountings, though I dont know enough to be sure, seem more evolutional. Kinda hard to explain it well.

[Joe W.]

Hi Sherman,

Thanks for the kind words. I'm definitely not having a creative mid life crisis, I just want to see things move forward as well. For myself, a sword isn't something that should only conjure feelings of the past, it should reflect somewhat of an evolution or at the very least experimentation.

I don't want to see modern blades looking like 18th century nihonto. But perhaps that's because I haven't grown up with Japanese culture? I love a hamon and the basic blade shapes and construction of the Japanese sword, but to me nothing is sacred. Howard Clark's 1086, Brian Vanspeybroek's mounting and polishing, Don Fogg's blending of East and West, and Michael Bell's welded cable blades evoke feelings of change and betterment.

When you say that something "just looks right" I assume you're going beyond the obvious clean line and proportions and craftsmanship. What kind of "right" feeling do you mean (ie., in what circumstances/conditions are those fittings 'right')?

I thank you and everyone else who has responded so far. It really helps to think things through out loud sometimes.

As for my formerly bemusing Avatar, some people just don't find fully clothed bouncing anime mammaries suitable for all audiences.

(message edited to get rid of that damnable auto-quote)

[Russ Ellis]

Originally posted by Antonio Cejunior
Hi Russ

It is a pleasure reading you and your civilized manner.
Each of us have different urges or needs. Yes, I acknowledge your statement that
today the sword continues to evolve but as a target cutter and aesthetically rather then as a combat weapon.
and that I forgot to include.

As for Rick Barrett's rapier, I did not call it a rapier, he did. And yes, he designated it as a Fantasy sword, which is a word that does not sound well into my universe. If it became a reality, it ceased to be Fantasy. No, I'm not the one playing with words.
I am restricting myself to the original ethimology

I ought to catch Rick and argue with him about the definition

Well today is Sunday here, and it is great that we can cordially disagree

Have a wonderful Sunday, Russ

Thanks Antonio, as usual you comport yourself as a perfect gentleman. I'll continue to enjoy our posts and be fascinated by your designs.

[Antonio Cejunior]

Originally posted by Russ Ellis



Thanks Antonio, as usual you comport yourself as a perfect gentleman. I'll continue to enjoy our posts and be fascinated by your designs.

Hi Russ,

Thanks for the kind words. Actually I do happen to have a temper but even that I am learning to control and save energy for real life situations

I can only accept different positions and perspectives. In fact any other way would be a competitive posture and in fact I believe that competition it's just an illusion
Can I ever be you? Nope.

I don't want to convert anyone, and I am open to all perspectives from Confucius to Plato, from Kant to Nietszche. In the same manner I may be attracted to some things more than to others in the same perspective that I don't see why would I expect present day painters to paint like Vermeer



or Rubens



if even Klimt is already long gone.



and this is definitely outdated



I do appreciate any of the above in their own period. But why would I want to convert anyone? As I said before, I find that traditional katanas (and I am still expecting my Katsujin-ken by Rick Barrett and Patrick Hastings and my Seasoned Katana by Joe Walters tor bear all traditional features in the blades).
But though I have not been into swords for long, I have felt the need to evolve, as in any field of design.

Which means exactly not rejecting but adding as in pursuing. That simple

A pleasure Russ

[Joseph Renner]

I do think there has been lots of innovation and evolution, myself. Modern steels, constantly better understanding of thermal cycling/ grain, new and more precise tools. They are improving leaps and bounds. to me, The fact that they dont look it, just shows some folks have found what they like. In nearly a milenium Japanese swords didnt change much in basic looks, redundant or not, that speaks volumes.
Im not trying to sound hostile(it reads that way to me, I dont mean too be).
It does seem weird to me that we dont ocasoionally see something take a step forward, like those mounts seem to(for me). A new idea that doesnt confuse genre, shows innovation, in my opinion.

[Antonio Cejunior]

As far as I'm concerned, I don't find any hostility. This is a problem with the web.
Living in a small city that is unique, one also gets to know how close political power is and what it is actually: basically is a nest of vipers. So as far as I am concerned I feel I am able to detect a friendly post, a friendly ironic one, a poisonous one masked as friendly and so forth. Its just been too many years dealing with much much worse things and reading what is said and what is between the lines, and how it is linked

This being said, I just updated pictures of my Katsujin-ken and I again I agree with you. If swordsmiths such as



Louis Mills repeat an almost timeless process, his results are pretty innovative under the line of his work.



so does Howard or Rick Barrett do wonderful work their own way, their own style.

So does you have your own style as well and Joe Walters his own. Each one pursues his own path and you all know that you cannot compare your works and I know that none of you do fall into that mistake.

I have something under rendition that I will not present before it is completed, that is another exercise completely different from the tanto.

My approach to blades is not based on the characteristics of steels. It is not my language. Joe Walters referred to neo-tribalism, and in fact we must not view the sword out of the entire world context. I said before the putting anything into a ghetto was a gross mistake.

We are witnessing plenty of body piercing nowadays, which is a sign of rebellion against the present form of social and cultural values regarded as politically correct.

We basically live in a world of icons and symbols. Look what is happening:



now compare with this picture



let's continue...



and



then



and compare



continue next post

[Antonio Cejunior]

Now the body



and



then look at the similarities here also



and



So these are more than abundant signs that whenever fringes or parts of society feel an urge to change, they inevitably go back to the roots to refresh themselves.

Neo-tribalism becomes a necessity, a rite of change. The ethnical wars that are erupting everywhere are exactly rooted in the need to establish an identity, or to re-establish it.

So I would expect to be understood that my approach to blades is rooted in the study and understanding of today's changes.

Want some more examples? Next post

[Antonio Cejunior]

Now to subliminal symbols... which are easily decoded if one is open...

these images are familiar to us all, right?







well, let's say they are updated sequels of Superman, Batman, Dracula...

What do they represent?

Get your answer next

[Antonio Cejunior]

Why is it that the Qing Dinasty Emperor's clothes are so wide?



or Napoleon, to be more western?



or Louis XIV



Well what they all have in common among themselves and also with the films above is the fact that all of them, on way or another wear a Cape or a Mantle, something that makes them look larger then they are.

Its about a display of Power

very much like in the animal world, only adapted.



So, can we isolate swords evolution because of some other reasons including 24 years old Joe Walters eventual middle age creative crisis?

How clear things are Joseph. Really

[Antonio Cejunior]

Since Tripod is playing human tricks, let's just post the animal my way.



rant mode off

[Sherman Chow]

Originally posted by Joe W.
Hi Sherman,

Thanks for the kind words. I'm definitely not having a creative mid life crisis, I just want to see things move forward as well. For myself, a sword isn't something that should only conjure feelings of the past, it should reflect somewhat of an evolution or at the very least experimentation.

I don't want to see modern blades looking like 18th century nihonto. But perhaps that's because I haven't grown up with Japanese culture? I love a hamon and the basic blade shapes and construction of the Japanese sword, but to me nothing is sacred. Howard Clark's 1086, Brian Vanspeybroek's mounting and polishing, Don Fogg's blending of East and West, and Michael Bell's welded cable blades evoke feelings of change and betterment.

When you say that something "just looks right" I assume you're going beyond the obvious clean line and proportions and craftsmanship. What kind of "right" feeling do you mean (ie., in what circumstances/conditions are those fittings 'right')?

I thank you and everyone else who has responded so far. It really helps to think things through out loud sometimes.

As for my formerly bemusing Avatar, some people just don't find fully clothed bouncing anime mammaries suitable for all audiences.

(message edited to get rid of that damnable auto-quote)

Hi, Joe.
Well, about that wave set of fuchi/kashira. To be honest they reason they look right to me is because they feel right to me. That is, even though they are a production set(?), I still feel that the set has the very soul/character you were speaking of earlier.

And speaking of fittings, well, could you do us all that are fans a big favor ? When you have time, could you post more pictures of fittings on your website?

Oh, and please check your PMs.

Don't work too hard.

Sincerely,
Sherman Chow