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Mi intencion es ir actualizando el trabajo en Carpa 1308 de forma semanal hasta el momento en que este lista para su descarga. El trabajo en si comenzo la semana pasada pero he preferido que esta sea la primera entrada de este numero. En estos momentos todo son pruebas y bocetos y pocos elementos pueden darse por definitivos y en esta entrada, compartire algunos de ellos. Google translator: My intention is to update the work in Carpa 1308 on a weekly basis until it is ready for download. The work itself began last week but I preferred that this be the first entry in this issue. Right now everything is tests and sketches and few elements can be considered definitive and in this entry, I will share some of them. Hace unos meses, realice un modelo de JU-52 para utilizarlo como vehiculo de transporte para Amparo y su grupo de combate. La plana mayor del grupo y dos compañias de fusileras se trasladarian por primera vez al frente de batalla en este avion y el material pesado y las restantes compañias lo harian por tren. La imagen superior es un boceto sobre los preparativos de este vuelo y quedan muchos detalles por acabar: la torre de control y edificios administrativos del aerodromo solo estan bocetados. El modelo de JU-52, aunque ficticio, esta basado en los modelos construidos por CASA en España bajo licencia y me he permitido añadirle unos motores de mucha mas potencia que el original. El modelo lo construi para aprender a realizar chapas onduladas modelandolas, sin utilizar normales, el interior, por eso, solo esta bocetado. A few months ago, I made a JU-52 model to use as a transport vehicle for Amparo and his combat group. The group's staff and two rifle companies would travel to the battle front for the first time in this plane and the heavy material and the remaining companies would do so by train. The image above is a sketch about the preparations for this flight and many details remain to be finished: the control tower and administrative buildings of the aerodrome are only sketched. The JU-52 model, although fictitious, is based on the models built by CASA in Spain under license and I have allowed myself to add engines with much more power than the original. I built the model to learn how to make corrugated sheets by modeling them, without using normal ones, the interior, therefore, is only sketched. Las imagenes con los aviones en vuelo si que estan finalizadas y solo he de escoger una de ellas para la revista. The images with the planes in flight are finished and I only have to choose one of them for the magazine. La primera mision del grupo de combate sera el asalto y captura del sagrario de Santa Brigida y la poblacion adyacente que ha sido convertido por las tropas de Carmencita en una fortaleza inexpugnable. En estos dias ando bocetando el edificio religioso, quiero que tenga una estetica y arquitectura incomprensible para las ciudadanas imperiales y algunas escenas desarrolladas en la zona industrial y la propia poblacion. La imagen superior e inferior muestran a Amparo inspeccionando el Sagrario tras la batalla. The first mission of the combat group will be the assault and capture of the sanctuary of Santa Brigida and the adjacent town that has been converted by Carmencita's troops into an impregnable fortress. These days I am sketching the religious building, I want it to have an aesthetic and architecture incomprehensible to the imperial citizens and some scenes developed in the industrial zone and the population itself. The image above and below show Amparo inspecting the Tabernacle after the battle. He realizado algunos bocetos de vehiculos enemigos en el recinto sagrado para comprobar su presencia con la niebla que facilito el asalto de Amparo pero aun tengo muchas cosas por definir. I have made some sketches of enemy vehicles in the sacred precinct to verify their presence with the fog that facilitated the assault of Amparo but I still have many things to define. Para la zona industrial y la poblacion estoy construyendo una gran zona en ruinas como fondo para algunas escenas, todavia estan por acabar pero me han permitido comenzar a bosquejar algunas escenas de combate y de la resistencia de las tropas de Carmencita. For the industrial zone and the population I am building a large ruined area as a background for some scenes, they are still to be finished but they have allowed me to begin sketching some combat scenes and the resistance of Carmencita's troops. Aqui aparece un carro medio destruido junto a su tripulacion tras los combates por el Sagrario, a pesar de su aparicion junto a otros medios blindados he pensado que estos primeros combates sean protagonizados por la infanteria. Abajo se muestra a dos de las integrantes de una unidad anticarro en accion y responsables de la destruccion del tanque de la imagen superior. Here appears a half-destroyed tank along with its crew after the fighting for the Sagrario, despite its appearance along with other armored vehicles, I have thought that these first combats were carried out by the infantry. Below are two of the members of an anti-tank unit in action and responsible for the destruction of the tank in the image above. He realizado algunos bocetos sobre las unidades enemigas desplegadas en la zona industrial, he aprovechado para incluir algunos modelos para preparar escenas posteriores. I have made some sketches of the enemy units deployed in the industrial zone, I have taken the opportunity to include some models to prepare for later scenes. Todas estas escenas, me serviran para comprobar luces y post produccion antes de realizar las ilustraciones definitivas. Para cerrar dos escenas genericas que he preparado para campo abierto. Siempre suelo trabajar con modulos que se puedan intercambiar y modificar con facilidad. All these scenes will help me check lights and post-production before making the final illustrations. To close two generic scenes that I have prepared for open fields. I always tend to work with modules that can be easily exchanged and modified.

Esta semana pasada, he iniciado el trabajo en el nuevo numero de Carpa, Carpa 1308, como he comentado en anteriores entradas estara dedicado por entero al grupo de combate Alba negra y comandado por Amparo hasta el fin de la campaña. Si no cambio el guion establecido este sera el primero de los tres numeros que cerraran la historia de Amparo y sus compañeras. El trabajo esta en una fase previa, el guion ya esta completado pero ahora trabajo, sobre todo, en los nuevos modelos e ilustraciones. La imagen superior muestra la primera portada del numero, no se si cambiare su diseño, pero con este ficticio trabajo de Amparo abrire la edicion. Google translator: This past week, I started work on the new Carpa number, Carpa 1308, as I have commented in previous posts, it will be dedicated entirely to the Black Alba combat group and commanded by Amparo until the end of the campaign. If I do not change the established script, this will be the first of the three issues that will close the story of Amparo and her companions. The work is in a preliminary phase, the script is already completed but now I am working, above all, on the new models and illustrations. The image above shows the first cover of the issue, I don't know if I will change its design, but with this fictitious work by Amparo I will open the edition. Antes de ponerme con la edicion de la revista finalice el modelo del "Bison" ficticio que comentaba en otra entrada. Aqui esta la vista frontal, como el modelo real incorporaba la pieza de artilleria al completo decidi hacer el modelo 3d por separado y disponer de un modelo mas para las artilleras imperiales. Before starting to edit the magazine, I finalized the model of the fictional "Bison" that I mentioned in another entry. Here is the front view, as the real model incorporated the entire artillery piece, I decided to make the 3D model separately and have one more model for the imperial artillery. Esta es la vista trasera. Rear view Este es el modelo en posicion de fuego, hice un par de versiones para tener un modelo remolcado y otro para las ilustraciones de accion. Para mis pruebas utilice uno de los semi orugas que construi para el grupo de combate de Amparo y que presento en la imagen inferior. This is the model in firing position, I made a couple of versions to have a towed model and another for the action illustrations. For my tests I used one of the semi-tracks that I built for the Amparo combat group and that I present in the image below. Como vehiculo asignado a Amparo he escogido el Horch descubierto que hice hace algun tiempo. La escena es un boceto de escena invernal que me sirva de base para diferentes ilustraciones y todavia tiene algun detalle a retocar. As the vehicle assigned to Amparo I have chosen the Horch discovered that I made some time ago. The scene is a sketch of a winter scene that serves as a basis for different illustrations and still has some details to retouch. Junto a la portada de la edicion solo he trabajado en las paginas de bienvenida e introduccion, los textos que aparecen no son mas que una guia, pero la maquetacion es casi definitiva. Along with the cover of the edition I have only worked on the welcome and introduction pages, the texts that appear are nothing more than a guide, but the layout is almost definitive. En las proximas entrada continuare actualizando los nuevos contenidos de la revista. In the next posts I will continue updating the new contents of the magazine.

ENLACE: CARPA 1988 PDF FILE. Ya he subido a mi cuenta de Mediafire el nuevo nunero fotografico de Carpa, Carpa 1988. En esta ocasion sera la propia Analia quien tome la palabra. No puedo negar que el proceso virico que padeció nuestro amigo causo una cierta inquietud en esta redacción y aun mas lo hizo el repentino cambio que sometió a la presente edición de Carpa. A pesar de los retrasos, habíamos comenzado a preparar el esquema previsto tras visionar los primeros bocetos que el el autor nos había hecho llegar y que continuarían lo comenzado en el numero fotográfico anterior, véase Carpa 1488, sin mencionar la preparación de algunas recetas que se incluirían en el. Dado el nuevo cariz de la publicación encargue a nuestra Adoración su dirección junto a Paquita y Dorita como diseñadoras. Las dos redactoras son las mas cercanas, en todos los aspectos, a Jose Carlos y podrían, sin dificultad, encarar el diseño de esta apresurada edición. Durante las visitas a su nuevo domicilio pude comprobar la vertiginosa evolución de la percepción que tenia Jose Carlos de este tipo de herramientas. Lógicamente, en un principio, quedo seducido por las lúdicas posibilidades que asomaban en los trabajos que iba atesorando es sus maratonianas jornadas visuales y que a pesar de la calidad de algunos de los trabajos que compartió, entre bombones, con todas nosotras, en la mayoría de los casos, no pasaban de ser una mera explosión de estimulación erotica mejor o peor construida. Durante las entrevistas el autor no entro en muchas de las polémicas que han surgido con la popularidad de dichas herramientas. Para Soto, el trabajo junto a una IA es un medio tan valido como cualquier otro para continuar explorando la realidad que le rodea. No puedo dejar de anotar, por eso, que ni siquiera se ha planteado utilizar la IA en su trabajo gráfico 3d, aqui prefiere construir el mismo todos los elementos sin ninguna injerencia externa. Como comentaba Adoración en su introducción, la IA, le permite ahora desarrollar muchas de las fotografías que había pensado y esbozado durante largo tiempo pero que no había podido realizar por la falta de medios, técnicos o económicos, que durante mucho tiempo le llevaron a ser solo un fotógrafo de una única camara y revelados automáticos. Aunque Soto, aparentemente, asume nuestras opiniones, no parece que le afecten demasiado al planificar esta edición y seleccionar las fotografías incluidas en ella. En realidad, lo clasifica como un pequeño regalo para esta redacción y sus publicaciones, pues muchos de los personajes y espacios utilizados en ellas aparecen ahora como elementos reales de su obra. Reconoció, entre risas, que las primeras fotografías que realizo las baso en las imágenes de nuestro personal que siempre se incluyen en todas ellas, realizadas con esmero por el autor utilizando varios programas 3d, y que las utilizo para construir imágenes como la que acompaña este texto y que presenta a Consuelo vestida de negro, como es habitual y permanente. En la pagina siguiente llega el turno de Adoración y su pasión por el baile... podría detallar muchos de estos elementos, pero prefiero que sean nuestras lectoras quienes las descubran mientras disfrutan del soberbio trabajo que presenta Jose Carlos Soto en este Carpa 1988. Son muchas las opciones que se presentan a un usuario que se asoma al mundo de la creación gráfica por IA. Aunque podemos encontrar opciones gratuitas o asequibles estas suelen ofrecer pobres resultados. Por supuesto, si adquirimos algunas de las licencias de pago podremos utilizar mejores herramientas y liberarnos de la autocensura impuesta por las compañías propietarias. Quizás por ello, Soto, se decanto por una alfa gratuita y disfrutar con ello de una dificultad añadida a la hora de alcanzar resultados satisfactorios por las barreras que se incluyen en estas opciones gratuitas, pero por otra parte, la utilización de una alfa le permite acceder, con todos los pero que se quieran añadir, a una herramienta de gran calidad. En ningún momento ha compartido Jose Carlos la herramienta utilizada, según sus propias palabras prefiere no dirigir a nadie en su camino exploratorio del medio y que cada una de nosotras lleve a cabo su propia búsqueda. Tras las numerosas entrevistas realizadas vía electrónicos, desgraciadamente Soto no ha podido viajar hasta esta redacción, no ha quedado muy claro si continuara el trabajo iniciado a finales del año pasado o, simplemente, será una declaración de intenciones de lo que podrá ser en un futuro no muy lejano. Las fotografías incluidas en esta previa a la edición han sido seleccionadas por el autor personalmente. Como es habitual en el, ha dado libertad absoluta a Dorita para el diseño de esta edición y a Paquita para su producción. Solo ha insistido en rediseñar las clásicas de apertura pues considera que esta previa debía convertirse en un alegre y, a la vez, no poético anuncio de lo que las lectoras encontrarían durante este viaje en su compañia. Aunque algunos de los temas habituales en la obra del fotógrafo vuelven a mostrarse aqui, no cabe duda que superar la enfermedad le devuelve, aunque solo sea por un momento, la alegría de vivir que, demasiadas veces, permanece al fondo del pasillo. Analía Castro Bermudez. GOOGLE TRANSLATOR: I cannot deny that the viral process that our friend suffered caused a certain concern in this editorial office and even more so the sudden change that he made to the present edition of Carpa. Despite the delays, we had begun to prepare the planned outline after seeing the first sketches that the author had sent us and that would continue what had been started in the previous photographic issue, see Carpa 1488, without mentioning the preparation of some recipes that would be included in it. Given the new nature of the publication, I entrusted our Adoración with its direction together with Paquita and Dorita as designers. The two editors are the closest, in all aspects, to Jose Carlos and could, without difficulty, undertake the design of this hurried edition. During the visits to his new home I was able to verify the vertiginous evolution of Jose Carlos's perception of this type of tool. Logically, at first, he was seduced by the playful possibilities that appeared in the works he was collecting during his marathon visual sessions and that, despite the quality of some of the works he shared with us, among chocolates, in most cases, they were nothing more than a mere explosion of erotic stimulation, better or worse constructed. During the interviews, the author did not enter into many of the controversies that have arisen with the popularity of these tools. For Soto, working with an AI is a means as valid as any other to continue exploring the reality that surrounds him. I cannot help but note, therefore, that he has not even considered using AI in his 3D graphic work, here he prefers to build all the elements himself without any external interference. As Adoración mentioned in her introduction, AI now allows her to develop many of the photographs that she had thought about and outlined for a long time but had not been able to take due to the lack of technical or economic means, which for a long time led her to be only a photographer with a single camera and automatic development. Although Soto apparently accepts our opinions, they do not seem to affect him too much when planning this edition and selecting the photographs included in it. In fact, he classifies it as a small gift for this editorial team and its publications, since many of the characters and spaces used in them now appear as real elements of his work. He acknowledged, laughing, that the first photographs he took were based on the images of our staff that are always included in all of them, carefully made by the author using various 3D programs, and that he used them to build images such as the one that accompanies this text and that presents Consuelo dressed in black, as is usual and permanent. On the next page, it is Adoración's turn and her passion for dancing... I could detail many of these elements, but I prefer that our readers discover them while enjoying the superb work that Jose Carlos Soto presents in this Carpa 1988. There are many options available to a user who is entering the world of AI graphic creation. Although we can find free or affordable options, these usually offer poor results. Of course, if we acquire some of the paid licenses we can use better tools and free ourselves from the self-censorship imposed by the proprietary companies. Perhaps for this reason, Soto opted for a free alpha and thus enjoy an added difficulty when it comes to achieving satisfactory results due to the barriers included in these free options, but on the other hand, the use of an alpha allows him to access, with all the buts that one might want to add, a high-quality tool. At no time has Jose Carlos shared the tool used, in his own words he prefers not to direct anyone in his exploratory path of the medium and that each of us carries out our own search. After the numerous interviews conducted via email, Soto has unfortunately not been able to travel to this office. It is not clear whether he will continue the work he started at the end of last year or whether it will simply be a declaration of intent of what may be in the not-too-distant future. The photographs included in this preview of the edition have been personally selected by the author. As usual, he has given absolute freedom to Dorita for the design of this edition and to Paquita for its production. He has only insisted on redesigning the classic opening photos, as he considers that this preview should become a cheerful and, at the same time, non-poetic announcement of what readers would find during this journey in his company. Although some of the usual themes in the photographer's work are shown here again, there is no doubt that overcoming the illness gives him back, if only for a moment, the joy of living that, too often, remains at the end of the corridor. Analía Castro Bermudez. Algunas paginas: Some pages:

Carpa 1812 download. We meet again at the Barbara-Ann bar, late at night, on a Friday, a Saturday, or any other day, in reality, the temporal or spatial situation does not matter. Time seems stopped. Nothing happens, nothing extraordinary happens. The imperceptible loneliness of our idle life, in private but common situations, appears again in this series of images. A contradictory imaginary presence is observed in this work. Small moments of the daily life of perfect strangers. We enter the visual game so expensive to José Carlos. An anodyne situation or the classic group portrait becomes a hard and mute tug-of-war. Without resorting to false artifices, we discover what is true and real in these photographs. We discover what the protagonists really think and feel - where so many lost glances are directed - slight gestures, private jokes turned into pathetic defenses against the simplicity and emptiness of real life. We discover, in short, with astonishment, the last layers of our own thought. The disturbing banality of the situations photographed by Soto and the absence of any temporal reference give way to surprising and endless moments, far removed from any visual narrative or discursive limits. What is photographed is isolated from any context to create an oppressive and opaque space, which directs the viewer, with no possibility of escape, towards the border that separates appearance from reality. In this document, Carpa 1812, the author begins an analysis of his personal relationships and his most intimate circle, an unexpected fraternal request was the seed of this new photographic project, let us not forget, the result of the most absolute chance. We find countless snapshots taken indoors and outdoors, the least. Photographs taken day after day, month after month, every moment was good during the eleven years that I archive on countless CDs, first and later, DVDs. We are not dealing with the typical visual diary of an artist or with the cold and objective document on the human condition and its relationship with the urban space and its entertainment venues. Chance guides at all times the photographic work of the past and the selection that I make during the transfer to Okalia, an external hard drive, and its upload to two well-known social networks at the end of this year for the enjoyment of his friends and, mostly, protagonists of those selected snapshots. - José Carlos, again with the machine?. Simply, we find people having fun indoors. José Carlos, in this visual memoir, pays special attention to the Barbara-Ann, a Barcelona venue frequented by the photographer for years, practically since its inauguration, until 2011. The apparent coincidence of the moments chosen initiates a process of bitter reflective content, What is true and true in these snapshots? The protagonists of the selected photographs: friends, spaces or strangers, played a role in Soto's private life and in the evolution of his work. From the beginning, the photographer expels the nostalgia of his selection, as he has always done, his thoughts are directed to tomorrow, but he cannot forget or deny everything he experienced during those years photographed ad nauseam. The intimate and private as a universal experience. When designing and preparing this edition of Carpa, Soto did not want to reveal the reason for his numerical choice, I have enjoyed total freedom. At no time, the author has wanted to intervene in its design, logically, he only imposed the condition of maintaining texts and order of the uploaded photographs. I have only intervened to eliminate those entries referring to his work in this issue and that did not contribute anything to the final result of it and were redundant. I did not want to ask the author to remake the brief texts that accompanied the images. I consider it much more effective and enlightening, for the reader, to maintain the almost oral texts with which the photographer presented his snapshots. Thus, the artist presents himself to his readers as if he had gone back in time and sat at a table in any bar, commenting on his work with one of his friends. To present the comments made on some photographs, I have preferred to do it together with a photograph taken by Soto during that time to avoid unnecessary aesthetic confusion and start a fun and, perhaps, private game with the established dialogues. In case any comment included an image, I have preferred to use this one. The authorship of some external photographs is indicated by the author himself in the attached texts. I have little more to add to what my writing companions have written, I only recommend starting this trip to a past time that was neither better nor worse, to direct, like the author, our gaze towards the future.