To my readers......

I have just discovered a backlog of comments awaiting moderation that Blogger hadn't told me about.
I'm working through that now, sorry if anyone thought I was ignoring them.

btw, Please don't put e-mail addresses in your comments.
If you want to contact me use the link in my profile which you can now reach via the new 'contact page' below

Thanks for visiting Mitchell's blog

(Aug 30th 2018)

Saturday, 31 May 2008

In Praise of..... Swimming Trunks - 1

In days gone by swimming trunks were bulky items in thick material with high waists seemingly designed to obscure all hint of sexual interest.
That could be circumvented of course for photographic purposes but not in public.


Now-a-days trunks are much more interesting with skimpy cuts and flimsy fabric intended to promote speedy performance in the pool. By a happy coincidence these same requirements provide 'man fans' with tantalising glimpses of bulges (3) ...........
...........and shaved stomachs (4).
It takes little effort to conjure up 'mitchmen' style fantasies of these young athletes helping each other with their intimate preparations for competition.
Or perhaps their older coaches do the job for them.

Friday, 30 May 2008

The Swimmer by Mitchell

This picture called 'Angry in Speedos' is one of my latest pubications.
It's Speedo Bondage in a similar vein to my masthead picture - 'My Dishonest Gardener'
I spent some time on depicting the young swimmer's face so it would seem individual and real and not just a caricature.
This topic leads into my next posting which is to be the second in my series of articles labelled
'In Praise Of......'.
The first one covered Jock Straps and their natural home (in my opinion!) on 'big men'
The second is to be about Swimming Trunks

Wednesday, 28 May 2008

Mitchell's A to Z of Fetish Artists - Top Choice for letter 'C'

Choosing my favourite artist for the letter 'C' is another tricky one. Of my short list discussed over the last few days, Cavelo covers the broadest range of fetish topics. But as I have explained, his style just doesn't work for me and style is a major criterion for my favourites. Copper and 'C' are focussed on spanking which is fine but leaves me wanting more. Most of Chooi's output that I have seen does not depict fetish topics explicitly although there is a nice little selection of male bondage art. Which leaves me with Chris - I like his style, I like his men - the only thing that makes me hesitate is that his work mostly hints at fetish themes rather than depicting them. But on balance Chris has to be my choice and so joins Amir and Brick in my personal fetish hall of fame.

Monday, 26 May 2008

Mitchell's A to Z of Fetish Artists - Copper

Copper is another spanking specialist. At first glance his pictures look like cartoons because of the thick lines that delineate the figures but in fact closer inspection reveals a sophisticated and confident technique utilising a variety of graphical shading methods. Some of his pictures are formed around rather impressive figure studies. The story telling is often strong in Copper's pictures which always earns Mitchell's seal of approval. The example here brings out the psychological humiliation of the submission as much as the excitement of the mechanics of the process.

See more examples at

Sunday, 25 May 2008

Mitchell's A to Z of Fetish Artists - Chris

I have included Chris (Musclemaxx) in this survey even though his fetish credentials are a bit sketchy simply because I like his work. He features big muscular men indulging in sex and there are usually domination overtones and sometimes mild bondage motifs. The men are generally clothed in skinhead or gym clothing which is stretched tight by their greatly exaggerated musculature.

The general style of shading and abundance of detail in the clothing etc is very reminiscent of Tom of Finland (not to mention the wildly exaggerated masculine endowments). Some of the backgrounds of trees and fences look as though they are plucked straight out of Tom's work. However the faces he shows are much more interesting than Tom's. The over developed body proportions and small heads probably limit the appeal of Chris's work but I love the sensual feel his pictures have. One cannot but admire the intricate detailing but sadly this means that new works are few and far between.

Saturday, 24 May 2008

Mitchell's A to Z of Fetish Artists - Chooi

Chooi is a recent discovery for me.
He depicts extra large, hairy men enjoying sex and involved in some form of domination or abuse when manual restraint or bondage is likely to be applied. The large size and hairiness of the men in these pictures gives them an extra flavour of strength and masculinity so that their submission is just that bit more erotic. That is why I have included him here.
The example I've given is less explicit than much of his work but is a 'mitchmen' favourite because of the victims subjugation and fearful anticipation of what is to come.
As with some other artists featured in this series the cartoon-like style is deceptive. On closer inspection the pictures are filled with subtle shading effects and dramatic lighting - and check out the dragon tattoo on the upright man. The drawn figures are superimposed and skilfully blended with backgrounds which are either real or computer generated. The street scene in my example is particularly effective.
More at

Friday, 23 May 2008

Mitchell's A to Z of Fetish Artists - Cavelo


Cavelo might justly be described as the 'giant' of our 'C's. His work is highly regarded and there are plenty of examples in circulation on the web. His images depict a wide spectrum of bondage, torture and other fetish subjects in a variety of different settings. This military 'interrogation' by him is a good example. It succeeds in creating a genuine sense of struggle with a simple, easily comprehended torture mechanism (more severe than it seems at first sight if you take the sticks into account) and a pair of tormentors who are seen to be actively involved with their prisoner, not just standing and watching. By keeping them clothed in their military uniforms, Cavelo points out that they are agents of a powerful, impersonal and intransigent organisation and consequently the plight of the totally defenceless prisoner at their hands is quite hopeless. It's a theme that runs through his work.

There is only the faintest suggestion that these captors may be personally, sexually interested, via some interesting shapes in their camouflage, but you can see the 'rope puller' is more focussed on the reactions of the captive to his pain than the tenderised meat drawn up before him. His sight-line reinforces the downward slope of the captive's body and draws attention on the prisoner's face emphasising his distress and predicament. In a way this lessens the erotic impact of the picture, although there's no question that this is intended as erotica if you examine the sensuous treatment of the captive's subtly-engorged organs.

Cavelo's eroticism here is not so much 'hidden' as 'disguised' (click on the label below for other articles about hidden eroticism). This may simply reflect the censorship regime of it's time. In the 1980's restrictions were already beginning to collapse with changing attitudes to nudity and sex, but were also coming under further attack from publishers (like Drummer) who were trying to push the boundaries of S&M imagery as well. Playing down an explicit linkage between sadism and lust was perhaps offered as a quid pro quo. Or perhaps it is a reflection of Cavelo's own values, that the erotic is meant to be understated or not of primary importance,


This depiction of a mass punishment is an unusual and imaginative subject. Normally fetish images with multiple captives set out to show the variety of different strokes available for different folks. This is a far more focussed image and shows Cavelo's interest in the psychology of torture and not just the mechanics of it. The prisoners here are lined up to witness the punishment of their buddy but their clothing, prepared in identical fashion tells us unambiguously that they will be suffering exactly the same treatment themselves, when their turn comes (or have already depending how you read the picture). Cavelo uses the sardine-like crowding together of the prisoners to emphasis their powerlessness and unimportance as individuals. The extreme muscularity of their attacker underlines his total power over them.

Once again the erotic element of this picture is played down with a row of mostly flaccid organs, and to some extent the violence is too, with the current victim only partly visible at the edge of the picture as though to suggest that his punishment is only a contributory detail of the picture, not it's subject. Only he shows any arousal, but we do not know whether that is the cause of his punishment or a consequence of it.

Both these pictures come from a collection used for a story called 'Camp Alpha'. I don't have a copy of it but the pictures seem to have been assembled together rather than specifically drawn for the story line. The guards are seen wearing a variety of different military uniforms including modern fatigues, Nazi blacks, and Foreign Legion. The captives in the picture above don't seem to be wearing any uniform at all.

Cavelo has a distinctive approach to figure drawing which combines two contrasting styles. Naked parts of the body are drawn with complex, highly detailed, almost anatomical musculature, usually rendered in dark tones with carefully graduated shading and bright highlights. Clothed parts of the body are outlined and detailed with fine lines drawn with the economical precision of a well-trained graphic artist and these parts appear much lighter. As can be seen in the example above, this draws attention to the flesh and muscular definition and indeed this technique seems to be borrowed in part from the presentation practices of the Body Builders circuit, involving fake tans and baby oil. However, removed from this context it tends to make the prisoners look unnaturally dark-skinned and healthy.


This is a fairly well known spanking picture and remarkably powerful considering how little is actually going on. The impact flows from initially from the evident efforts of the tied up, young athlete to escape from his tethering and gagging, which is clearly as unexpected as it is unwelcome. The nature of his binding has a spontaneous, improvised quality that perfectly chimes with the implied situation of the coach finally running out of patience. As in the last picture the victim is only partly visible, in this picture the cut-off has the effect of assisting the perspective, bringing him closer to us. We can just see his tackle, slightly aroused, but again we don't know if that is a result of feeling the paddle, anticipating it or the cause of his punishment.

The dark shading of the coaches skin accentuates his prominent veins, indicative of exceptional lean muscularity, but in this image his skin is much darker than his trainee's and this somehow seems to appropriate to their difference in build and ages too. He contemplates his handiwork with obvious satisfaction and this time Cavelo offers several clues to his sexual state:- the part-opened jeans, the hand in pocket and carefully-positioned paddle. The slightly sinister sun-glasses make you wonder if this situation is less spontaneous than it appears.


Cavelo's interest in clothing goes beyond modern day dress and he indulges this in a lot of globe-trotting and historical scenarios which make for some spectacular imagery as in this scene set in a Japanese mansion or palace where a naked, muscular western captive is being beaten, watched by two notables whose rank is evidenced by the exaggerated shoulders of their 'kataginu' gowns and their swords. Cavelo uses cropping to further good effect here, enhancing the drama and sense of movement in the picture

The fine, delicate quality of Cavelo's outer detailing seems particularly appropriate for this Far Eastern scenario but I'm not sure the blocked-in central figure works that well considering he is the focus of the drawing in every respect. Cavelo's technique here doesn't communicate a great deal of clarity about what his body actually looks like - even allowing for the fact that he is upside down (which always causes visual confusion). The dark shading gives the skin a strange 'plastic' appearance and the broken patterning somehow breaks up and obscures the overall body shape - exactly like a camouflage pattern does - so there's not a lot to lust over other than his general predicament.

Technique aside, there's a powerful supplementary psychological overlay at work here in the meeting of two cultures where the Westerner who intrudes and offends is brutally punished like a common criminal despite the civilised sophistication and might of the nation which stands behind him.

There is an interesting resemblance too between this image and those of Tagame which is due in part to the setting of course, but the upside-down suspension and public beating is also typical of that artist's work. Not so the build of the victim which in truth is a little glamourised for the period portrayed.


This is not a very good quality image but I have included it for it's amazing drama, set this time in Indian Territory in North America where three cowboys have been readied for torture by Native American captors. Their naked suspension, stretched between two posts is pretty original, exposing them to attack as completely as it is possible to do. Raising them several feet clear of the ground emphasises their vulnerability even more, it also renders escape virtually impossible and creates a dramatic spectacle of their punishment.

The idea of grouping the three men closely together, two of them even sharing a post between them forces them to witness their companions suffering and anticipate their own. Cavelo has created overlapping patterns of out-flung limbs and upright posts which form a miniature arena in which the captors prowl wreaking revenge as they see fit. The sinuous curves of the trees chosen to make the posts with their stubs of cut off branches lend an air of desolation to the scene, like the remains of a forest ravaged by fire. It is all quite nightmarish. There's an ironic echo of those terrible uprights in the majestic pillars of the beautiful but bleak wilderness around them, it is a brilliant, artistic embellishment, a touch of class.


Cavelo has borrowed his concept here from the pulp literature illustration above, but has made significant alterations which elevate an already great concept to a higher level and it is superbly realised. I would dearly like to present a better reproduction here - any offers?


In this Western scene there's a much more direct contact between the captor and prisoner. A great deal of the drama comes from the impressive frame Cavelo has constructed to restrain the cowboy and he really looks as if he is hanging from it and suffering some discomfort from the tugging on his genitals too. The provision of a foot bar for him to stand on allows his body to arch forward erotically but seems improbable and over-staged. Cavelo's characterisation of the native Americans is a bit glossy, too, they look altogether too pretty and well dressed which diminishes their menace considerably. 

The clinical precision of his technique is visually gratifying, it's a very attractive picture but it doesn't really do full justice to the gravity of the situation depicted. This is quite a good example of the plasticising effect of the body shading, I guess you either like it or you don't. There is a good balance however between the foreground and the lighter background and the texturing of the tee-pees is very stylish.


One of Cavelo's most notable works is the set of about 50 illustrations he did for a Zeus comic book based loosely around the myth of the labours of Hercules and recounting a supposed 9th labour to obtain the loincloth of the King of the Manazons. The image above shows one of the many ordeals Hercules has to undergo and there are other very imaginative and well drawn episodes. In fact it works better as a set than as individual drawings. In this example you can see straight away that Cavelo ha
s trimmed the detail to suit the publishing requirements but there's also a sense in which the image on it's own is somehow lacking in context. The head of the King in the foreground, the character jerking off in the background, both seem significant but we can't really tell from the picture what exactly is going on. It's the text and the flow of the other pictures that makes it all clear of course.

In this example Cavelo's distinctive style (for me) overpowers his subject matter. Hercules is shown with very dark skin colouring, focussing our attention on him, but the shading is so dense that it brings the figure forward visually and detaches it from the rest of the composition. The other lightly sketched figures to the side are visually pushed aside and the sense of them standing around Hercules watching him suffer is lost. It doesn't help that Hercules is looking at us not them. Fortunately our brains are able to use the relative figure sizes to redress the balance once the scene has been fully taken in.

It could justifiably be counter-argued that this artistic treatment elevates Hercules out of the mundane brutality of his torture and into a god-like detachment along the lines of traditional depictions of Christian martyrdom. That's OK, but for me it leaves a nagging impression of the picture being unfinished.


There's certainly no attempt here to airbrush away the suffering of the captive in his plight. This young soldier has an attraction that is not fixed in the era of the Vietnam War as defined by the glimpse of his captor, but spans the decades to the present day (paradoxically reminding us that perceptions of barbaric cruelty in our opponents are nothing new - see also my A-Z articles on The Hun and JAD).

This detail shows Cavelo's strengths as an illustrator, the ability to to depict a handsome, characterful and very expressive,face in a few economical lines is a rare accomplishment. Notice the outrageously simple rendering of the ear for example. The complex contours of the side of the cheeks and neck are deftly captured with subtle blocks of shading and with this treatment it retains it's unity and graceful shaping. By contrast, the sharp delineation of muscles in the man's torso and particularly in the upraised, nearer arm don't convey the same sense of unity, volume or shape.


This image has a similar degree of conviction, expressing the extremity of the torture by the contortions of the captive's body this time rather than his face. The sentiment is rammed home by the seeming indifference of everyone witnessing it, including his fellow prisoner in the background.

This prisoner is adorned with body hair suggesting added maturity and strength. It underlines his helpless humiliation, forced to bow his head to a young zealot of different persuasions. There's clearly a sexual dimension to his humbling too, but it is expressed in the most indirect manner - by his open mouth and his kneeling position between the open legs of his captor - whose depiction I fancy is also showing a hint of arousal via the shaping of his rolled back sleeve. Hidden eroticism doesn't come much cleverer than this (click label below for other examples).


My final example is of another of Cavelo's recurring themes, The Inquisition. Historical dramas have traditionally made a good disguise for homo-erotic S&M, but the Inquisition had a unique reputation for the single-minded pursuit of recantation and conversion through unspeakable cruelty. It's proponents targeted specific individuals (rather than representatives of a race or an army as was the case in the images above) making their attentions all the more terrifying for the isolated victim. Any imagery showing the Inquisition thus automatically acquires an aura of horrific anticipation and fearfulness.

Cavelo captures that sense of terror in the victim rather well and surrounds him with a gang of gleeful, sadistic persecutors awaiting their turn and a couple of calculating priests directing operations. They are all equally indifferent to his humanity and all directed and authorised by faceless, distant law makers who cannot be appealed to directly or persuaded. With the physical torture removed, this is a scenario most of my readers will relate to quite strongly I imagine. It does not help our victim that his tormentors are enviably masculine and erotically gleaming with the sweat of their exertions for - as in the previous image - there are clearly sexual motivations at work here. These are expressed most obviously by the captive's forced open legs and the tethering of his private parts for some punishment undefined, but perhaps related to the fiery basket in the foreground.

More subtly, the captive's right hand seems to be reaching behind in the general direction of one of his tormentors attractively packaged groin, as though seeking to win him over in the traditional way of gay men. However the cylindrical object offered up to his grasp is not a comforting physical appendage but a burning candle intended to punish that hand for it's sinful gropings.

There's another interesting detail on his other side where one of the Priests is reaching out to touch the captive's body. Judging by the point of contact these pair might perhaps be discussing the stigmata of Christ and it's theological relevance when selecting points of torture for the wretched victim. Or perhaps it's just a hypocritical, comforting hand. Then again it might simply represent a Priest's furtive, salacious enjoyment of the trembling and convulsing of his doomed victim's naked body.

For me historical imagery tends to lack immediacy and modern relevance, which I regard as a pre-requisite if erotica is to work it's dark magic on us. It's hard to get worked up about someone who would have lived and died centuries back. This example is more ambiguous than some since the costumes we can see are equally appropriate to modern times. You can also re-imagine the scene as a modern day film set where the actor playing the captive is the only one who didn't know that the director was aiming at extreme realism for torture and subsequent scenes. For this 'Stephen King' reading of the image, any lapses in historical realism are unimportant, in fact they are advantageous, serving to convey the frightening, underlying reality.

Cavelo's heyday was circa 1978-85 when a good deal of his work was published by Zeus and Drummer. I believe he was still producing stuff quite recently through his fan club (see below) but he doesn't have a very visible, organised web presence (see The Mystery of Cavelo)

(Note: This article was completely rewritten in Nov 2015)

Cavelo has a fans group on Yahoo at
but it doesn't seem to be very active of late

Any information on his whereabouts would be welcome.

Click on the A-Z label below for more articles in this series
or you can consult my index page (tab at top) or use the search options here.

Thursday, 22 May 2008

Mitchell's A to Z of Fetish Artists - Cadete

Cadete is known for his photo manipulations but has also done artwork which I have included because I like the way he depicts handsome male heroes in bondage, helpless in the grip of evil villains. It must be said there isn't a great variety in his pictures and the style is very simple but no less effective for that.

Wednesday, 21 May 2008

Mitchell's A to Z of Fetish Artists - 'C' of Sweden

'C' of Sweden depicts spanking scenes. Spanking as a 'mitchmen' fetish is primarily about domination, submission and humiliation - men on men and that is what I enjoy in 'C's pictures. He normally portrays the subject in a serious, almost non-sexual way. The participants are often fully clothed (save for the recipients bottom perhaps) and sexual organs are hardly ever shown. This does not eliminate the erotic appeal of course. The use of clothing gives the characters an identity and helps provide a narrative for the picture. Indeed partly removed clothing (as in the illustration) is often more erotic than nudity.
My only caveat is that 'C' often uses historical settings with characters wearing moustaches and/or elaborate costumes - these pictures don't work so well for me.
'C' employs a variety of styles ranging from simple line drawings (as illustrated) to highly detailed pictures reminiscent of lithographed Edwardian cartoons
(highly appropriate to this rather archaic sport!).
He also does more artful pictures shaped with shading and toning rather than lines.

Monday, 19 May 2008

Mitchell's A to Z of Fetish Artists - The Letter 'C'

C is for :- 'C' of Sweden, Cadete, Cavelo, Chooi, Chris (Musclemaxx) and Copper.
Cyrano - St Andrews Crucifixion
I have omitted from this list Colmer and Cyrano who both specialise in crucifixion and mutilation scenes drawn in a fairly naive style. Cyrano's drawings are interesting and provocative. His style closely resembles that of Mahoney
(is it the same person? Info from readers welcome).
Colmer has his own article under his art name of 'Hammer'.

Cervone - Slave Train

Another notable artistic omission is Cervone, but despite some memorable images most of his work is non-fetish (slave train above being a notable exception) otherwise he would certainly be included.

Colt - From Manpower

Colt (alias Luger alias Jim French) was an even more difficult choice. I admire tremendously his lush, semi-photographic style. His pictures are loaded with masculinity and suggestions of submission and domination (which is the essence of the 'mitchmen' world). Colt's phallic stool legs were something of a trademark and provided a hidden erotic message when the pictures were doctored for publication by clothing offending organs. For initiates of course, the barely visible chain links and dripping glass conjure up even more provocative ideas!

All of these artists are likely to get their own article in due course.
(this article revised, March 2015)

For other articles in this series click on the A-Z label below.

Sunday, 18 May 2008

In Praise of Jock Straps - Mitchells Art

Naturally my fascination with men in Jock Straps (see previous posting) is reflected in my own drawings and I've attached a selection here. I put my pencil where my mouth is!
I was quite shaken when at the age of 18, I was told by an older work colleague that Jock straps were standard issue in the British Army at one time. My imagination ran riot over the possibilities should a young soldier ever be captured - see below for example featuring a GI captured in the jungle.
(from Mitchell's Series: 'The Lost Patrol')

Being educated at a rugby-playing school I was already fascinated by the
strong thighs and rounded buttocks developed by players straining in the scrum.
What better display for them than the straps of a jock?
(Picture below from Mitchell's Story - 'The Strange Case of Manley RFC')

Of course the simplest attraction of the jock is the fact that only the genitals are covered.
Even 'dressed' the wearer is vulnerable to a predator.
(Picture below from Mitchell's 'Inspired by Tom' Series)
And scrumming leaves rugby players vulnerable in other ways too!
(picture below from Mitchell's story 'The Strange Case of Manley RFC')

All the pictures here and others like them can be seen in the Galleries at my Yahoo Group
which is also called 'mitchmen' . The link and more info can be found in the side bar.
  for other gay art by Mitchell at mitchmen blog click on the 'mitchpix' label below

Saturday, 17 May 2008

In Praise of ......... JockStraps

I know that not every man will share this view,
but I have a firm belief that jock straps look great - but only on big men.
When slim lads like the guys above wear them they just don't work.

The guy above looks better but is really still too thin
for that chunky waistband.

No, a thick trunk is needed to stretch the waistband so the proportions look right.
Obviously the more stuff you can get in the pouch, the better. 
There's an added frisson that comes from evidence of maturity.....

.....but given the right build,
youth itself is not an impediment to the erotic exploitation of the garment

The requirement for shapely bulk is also true of the rear view.

The buttocks should bulge out over the leg straps
like they were a restraining harness.

Finally they should not be pristine white. I'm not into excessive soiling, but clothes that have been worn mould to the body in a most sensual way. Jockstraps need lots of washing to achieve that state because they are made to be strong with thick material. But it's worth the wait while they soften.
You can't beat a big man in a jock! 

(revised Feb 2017, Jul 2018)

Friday, 16 May 2008

Mitchell's A to Z of Fetish Artists - Best of the letter 'B'

Picking out my favourite in the letter 'B' category is tough - there are several artists that excite me here so I know my choice is going to be somewhat arbitrary.

If I were making my choice on drawing style and sensuality it would have to be Blake - I love how he draws his beleaguered men - but the subject matter is just too hard for me. I feel the same about Bastille's sleazy orgies though I admire his intelligent artistry.

I like the inventiveness of Bishop's bondage positions but the female nuances in his figures kill the fantasy. Belasco's hard black and white style reminds me of the war story comic books of my youth and fills his stories with action and drama but somehow the sensuality and interest isn't quite there in individual frames - I can't put my finger on exactly why.

That leaves us with Boundex and Brick - both use cartoon styles so we are not really talking about sensuality here (apart from Boundex's shiny buttocks whose charms are not inconsiderable!). For me the main attractions in the work of these two artists are the depiction of male bondage itself, the use of clothing which creates a connection with the real world and the story-telling. It's a hard choice but Brick just edges it for me because his men have just a touch more realism and his pictures are more varied in subject matter with rather more going on in them. So Brick joins Amir in my personal Hall of Fame!

Thursday, 15 May 2008

Mitchell's A to Z of Fetish Artists - Brick

Finally in the letter 'B' series we come to Brick.
Brick's subject matter usually shows men held in detention and subjected to various indignities (and occasionally much worse!). The men are always tied up, even when being marched around when the bondage is designed to make walking difficult and undignified. Sometimes the captives wear shorts but are often obliged to wear tight fitting thigh length boots like waders.
One of the things I like about Brick is that he often shows what is about to happen and the victim realising it or perhaps his comrade who is next in line. This is very much the sort of thing I like to do in my 'mitchmen' pictures. He places his characters in locations so that the viewer can imagine a story not just the enactment of a fetish.
Brick's pictures look like coloured cartoons which brings a sense of lightness and humour but the underlying subject matter is not funny at all. The effect of the pictures is lifted by the details of faces, body hair, clothing etc which are more varied and sophisticated than mere cartoon imagery.

Wednesday, 14 May 2008

Mitchell's A to Z of Fetish Artists - Boundex

The Art of Boundex typically shows images of men, often skinhead types, who have been tightly tied up, gagged and suspended.

Sometimes they are depicted in skinhead clothing - Adidas tee shirts and jeans - but often they are clad in tight fitting lycra or shiny rubber suits which are depicted in a sensual way and create a strange effect of nakedness and vulnerability whilst clothed. These male bondage situations are bought to life by little side comments or exclamations muffled through gags conjuring up fantasies of revenge, abduction and punishment very much in the 'mitchmen' style.

Boundex's style of drawing is very simple and often all that can be seen of the faces is wild, fearful eyes but the overall effect is strangely erotic - particularly when paddles hover over the shiny rubber clad buttocks of the helpless captive men.

For more examples visit

Tuesday, 13 May 2008

Mitchell's picture 'Captive Sailor'

Though stripped of his uniform and tightly bound,
 he is still proud and unbowed.
Even his abductors admire his manliness and beauty.
A perfect hostage with which to work.
This image is not part of one of my stories, just a study of male bondage
It features of some of my favourite 'mitchmen' motifs
- tight ropes, a muscular body and a handsome face -

Monday, 12 May 2008

Mitchell's A to Z of Fetish Artists - R J Blake

Much of R J Blake's work is not for the faint hearted but his depictions of men are excellent. Square jawed and rugged, with muscular bodies sporting just enough hair, they are superbly masculine and sexy. The example shown here is a relatively 'vanilla' encounter but bristling with passion and danger, a good example of his style. 
(I hope to add to this entry soon).


Sunday, 11 May 2008

Mitchell's A to Z of Fetish Artists - Bishop

Bishop's erotic art is all about bondage and is almost mainstream heterosexual in it's appearance and subject matter. For example he features figures tied up in strange, uncomfortable but almost glamourous positions. In fact you often wonder whether they are really meant to be women despite the obvious outward evidence. His pictures vary in quality a great deal. In the more polished work the characters have a strange waxy appearance.

Saturday, 10 May 2008

Mitchell's A to Z of Fetish Artists - Belasco

Belasco's work, with it's uncompromisingly Black American focus is not totally fetish but he makes extensive use of it and his regular hero - Boo (illustrated) - though big, assertive and muscular is often on the receiving end of it. I've noticed an interest in foot fetish in recent work. The style of his drawing is free flowing and confident and his best pictures are full of drama and movement in the best traditions of comics. My only gripe is that the line drawing technique which helps to achieve this drama usually means that the figures are generally less sensual in appearance.

Friday, 9 May 2008

Mitchell's A to Z of Fetish Artists - Bastille

Bastille's work is mysterious - as befits the genre - and sometimes very earthy. Painted in slightly washed out colours, characters with exotic outfits, masks and tubes manoeuvre and wallow in their sexuality. Some pictures have a Breugel-like surreal appearance - hell and monsters. This is serious art. The example shown is a detail from ’Bathtime’ where a grotesque orgy takes place while behind the curtain an innocent young man cowers in his bathtub.

Thursday, 8 May 2008

Mitchell's Picture - Astronaut (Study)

This rough study shows an astronaut setting out to explore new territory. I have always found the low collars on astronauts space suits quite erotic but sadly skin tight suits like this have yet to materialise. I have to own up that I heavily based this image on another artists illustration in a book of science fiction short stories. As well as the cut of the suit I was attracted by the snaking oxygen tube and way the belt and helmet straps were depicted using a very simple pattern to show elasticity. Unfortunately I have not kept a record of the artist's name to give them proper credit.

I have seen criticism made of artists who draw inspiration from other's work and even try to recreate it. However it is a normal way for an illustrator to learn new techniques and skills. One only has to look at the different styles of the artists in my A-Z articles to see how different ways of drawing a figure create different effects. An artist can learn a lot by copying someone else's techniques and artistic shorthand. Even the old masters had their schools of followers using identical techniques to imitate their style.

The belt effect in this picture was part of a learning process for me and although I can't recall if I have used this particular device again the snaking straps are evident in many of my pictures including the masthead to this blog.

Going back to the picture subject, this is the only astronaut picture in my work to date. The front view would be quite interesting to draw but I don't have any plans for a series with this theme. 'The space suit is a bit of a barrier and the problem of undressing a spaceman in a hostile environment is a big deterrent for my methodical mind! Also I'm not very interested in drawing non-human characters.

Tuesday, 6 May 2008

Mitchell's A to Z of Fetish Artists - Letter 'B'

Artists beginning with 'B'This letter provides a very strong set of contenders for best fetish artist. In short listing them I had excluded artists whose work is computer generated such as Bondageskin and Boomer. I like their work very much but I don't want to compare conventional art and CG Art in this series because I think they are apples and pears. I'll look at CG artists separately. So, for the letter 'B' I have chosen :- Bastille, Belasco, Bishop, R.J.Blake, Bondex and Brick. This list excludes some notable artists such as Bush and Beau whom I have excluded because they are not 'fetishy' enough - although they have dabbled.

Monday, 5 May 2008

Mitchell's A to Z of Fetish Artists - Letter A conclusion

My tour of fetish artists beginning with 'A' has covered a wide range of styles. From Ajay's funny and sexy cartoons to Axel's complex and colourful renderings of original and fantastical situations. I like them all for different reasons - Adam's boyish heroes and Augustine's tightly strapped victims. In picking a favourite I am torn between the sheer stylish quality and inventiveness of Axel's work and the Mature masculinity of Amir's. It's a hard choice but I have to go for the harder edge of Amir's work.

The next segment in this series will be a perusal of the Artists beginning with letter 'B' - Blake, Bondex, Brick ......mmmm!

Sunday, 4 May 2008

Mitchell's A to Z of Fetish Artists - Augustine

Flexibility Training
Augustine shows men tightly restrained in improbable and fiendishly painful positions. The use of comprehensive strapping and awkward positions are the essence of control of course and highly erotic. His style is more sophisticated than it looks with graphic design influences in the shading and highlighting technique. It has much in common with that of the fem-dom bondage artist Eric Stanton.

Augustine also has a fondness for enema punishments. The crouch positioning of this subject draws attention (unusually) to the stress of retention rather than the discomfort of internal bloating which seems to interest most illustrators of this procedure. 

The faces are simply drawn and usually obscured with gags and strapping which is a loss for me - I like to see expressions. There's a suggestion here of a good-looking young man with a decent body but generally the figures lack this much character. The puffed out cheeks are the trademark of another fem-dom artist 'Emma', the distortion of a man's means of seduction being a very unsubtle female punishment. There are also interesting similarities to Franco's early style in the treatment of the background detail. 

Hooked Up
I think this may be Augustine's best known image and there's more similarity to Franco's style here in the marvellous complexity of the equipment and the shading technique (although I'm not suggesting any direct linkage). There's something delightfully naive in the improvisatory arrangements here, with the captive balanced precariously on a wedge-like stand constructed from piping and a rudimentary, bargain basement, shelving system which houses not only complex fluid circulating equipment but more mundane (and subtle) torments such as Castor oil. I like the way the catheter tubing twines round the upright.

 This image takes the objectification of men to the extreme, reducing them to sex organs and orifices which are all connected up to a giant storage tank ass though on a production line. In all these pictures there's not a great sense that the artist actually likes men that much nor sees their equipment as objects of desire. Their personalities are reduced to fearful staring eyes.

In fact these images are cropped from larger fem dom illustrations and although the creator is a man you'll be in no doubt about where his interests lie if you see the way he draws women. His art expresses self-abasement and submission rather than gay domination. There's an extensive blog of his work at Augustine's Art but don't expect to see man on man action. His Deviant Art page is entirely devoted to women.

If you want to know more about Augustine, there's an interview here


Friday, 2 May 2008

Mitchell's A to Z of Fetish Artists - The Amir (revised 2015)

The Amir - In Punishment

Amir's work is not often seen. His speciality is the bondage (and more) of swarthy Latin men and his subjects are unmistakably men and not boys. Their ordeals - often involving painful restraint - are depicted with a passion that seeks to convey the unpleasantness of their predicament. The drawing style is simple but still manages to capture personality in the subject and drama in the action.

The Amir - 'Countermelody'
It's the unmistakeable masculinity which I most admire. This picture of two men, bound and kept on leashes so their captor can dominate them is all the more powerful for the clear maturity of the two captives. The one on the right, slightly podgier, is slightly older perhaps. The identical caps suggest their backgrounds are linked, perhaps as workmates in some manual profession. This shared humiliation adds a new dimension to their relationship.

The Amir - Shampoo

Humiliation fetish of a different sort. This is an incomplete sketch but the arm muscles and creases in the boots show a decent draughtsman at work.

The Amir's interest in S&M art seems to fluctuate, I don't have a link for a permanent gallery but I did find an interesting collection of sketches by 'The Amir'
(Thanks to JoeT for the confirmation and improved version of 'Countermelody').
See also the comment from the Amir himself below.
(article revised Feb 2015)
For other articles in this series click on the A-Z label below.