author: Colden Thorne
pubdat: January 19th, 2014
In this course changing post the author delivers one of the most coveted sex attributes—texture. The tattoo competition Ink Master has always challenged the artists to bring texture into their tattoo creations. Likewise, your course master will challenge course creators to bring this amazing artistic value into their very next course.
The female vagina will receive four different forms of texture: glass, silk, butter, and rough. Once these four are mastered, other textures can be added to the individual course. That being said, the first calibration for texture begins in the post coital hug position: the male’s chin is resting in the female’s shoulder cleft, he is half mounted on the female’s near leg, and his free hand is placed on the female’s midsection.
It is with this free hand where the male presses through five levels of firmness. His hand presses down to level one, then two, three, four and reaches a depth of five. Meanwhile, the female can resist to keep his hand held at the depth of level five. This is where the tension begins to create the aforementioned textures.
The male will now attempt to move his hand with an up and down linear pattern. However, he will do so according to the female’s selected tension and her imagined texture. This creates anticipation and the male will also use his negative space and hand movement to facilitate the transformation. Well then, since both participants are fully engaged in the exercise, the text will create the very first shared texture.
When the tension is loose and smooth, the hand moves freely back and forth. Therefore, the exercise is attempting to create a surface that is smooth as glass. Both the negative space of the hand and the smooth tension on the female’s midsection will transform the motion to act upon a smooth glasslike surface. Naturally, the male is reading the female’s selected tension and moves his hand accordingly.
One of the cardinal elements is wind and this allows for a second light and slippery motion. The imagined tension is two pieces of silk being drawn over each other. By adding the quality of wind to the exercise the hand movement becomes more ethereal, and that is the desired effect. Again, both the hand and surface work together to create the ethereal quality.
The third texture makes use of another cardinal element, and that is water. Watery forms have a hydroplaning quality and are not as firm in terms of side to side control. Ultimately, the hand motion will not move in a straight path, but instead, will often veer to one side or the other. Also, the depth of the motion is difficult to control (with regards to the one to five scale previously mentioned). Therefore, the watery hand motion is not easily controlled with respect to the x, y, and z axis.
When the hand and surface get more viscous and oily, then a buttery form is created.
The last form makes use of a more tense texture. The hand flows through the first part of the motion until it encounters the tense spot. It is like the female has placed a little sand in front of the motion and the hand stutters and skips a few times. This motion is used to tickle, nudge, and impede the directional stroke. Therefore, it is applied in a concentrated manner to a narrow band within the stroke.
Work on the motion until just the right amount of tension is used to create the rough surface. Then work on creating more or less roughness.
This exercise concludes by applying the above textures to the most important sex surface—the female vagina. You can thank me later.
Why not start your advanced course tonight: