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He estado mas apartado del blog de lo habitual a causa de un funesto acontecimiento familiar y he estado durante algunas semanas alejado del trabajo en Carpa. Carpa 708 es uno de los numeros especiales que cierra de momento la historia de Amparo y se concentrara en el ultimo año de la guerra y de la vida de la artista. A pesar de ser de los ultimos ejemplares de la serie, todo lo narrado en el se convertira en canon y en el se basaran futuros trabajos y revisiones. Siendo un proyecto a largo plazo y en constante evolucion necesitaba tener un definitivo punto de partida. En este numero se combinaran mi trabajo en ilustracion 3d, fotografico y de diseño junto al realizado junto a una IA. Al trabajar en los numeros realizados mayormente con IA, me he dado cuenta de que esta se queda algo corta y necesito completarla con ilustraciones en 3d como venia haciendo hasta ahora. Esta entrada incluira alguna de las primeras paginas realizadas hasta ahora y un boceto del texto introductorio. Google translator: I've been away from the blog more than usual due to a tragic family event, and I've been away from work on Carpa for a few weeks. Carpa 708 is one of the special issues that concludes Amparo's story for the time being and will focus on the last year of the war and the artist's life. Despite being one of the last issues in the series, everything narrated in it will become canon and will be the basis for future work and revisions. Being a long-term and constantly evolving project, I needed a definitive starting point. This issue will combine my 3D illustration, photography, and design work with AI. Having worked mostly on AI issues, I realized that this one falls somewhat short and I need to complement it with 3D illustrations, as I've been doing up until now. This post will include some of the first pages created so far and a draft of the introductory text. Texto introductorio: Al cerrar la edicion de Carpa 1008 y con el los numeros de nuestra publicacion dedicados a presentar la carpeta de Doña Carmen Montoya de Alba negra y Piedra blanca, anunciabamos nuestra intencion de dedicar uno de los numeros especiales, en concreto este 708, a estudiar con detalle el ultimo año de la guerra y la posterior desaparicion de nuestra amiga y sus compañeras en el desierto de Aguas calientes. Son muchos los motivos que nos llevaron a tomar esta decision. Por una parte, durante ese año, Amparo alcanza la plenitud artistica que buscaba desde hacia tanto tiempo, consolida definitivamente su relacion sentimental con Condenacion y lo mas importante para nosotras, inicia el trabajo en la segunda version de su carpeta. Desde el hallazgo por Paquita del baul de la artista y su maravilloso contenido siempre se ha considerado la version “A” como la que deberia convertirse en el homenaje definitivo de la fotografa a todas las combatientes contra la inquina de la “Bestia”. La llamada carpeta “B” siempre se ha considerado, incluida esta redaccion, como un boceto preparatorio de la anteriormente mencionada y nunca ha sido publicada en su totalidad. Siempre nos hemos referido a ella de forma somera. como un complemento mas de la produccion de la autora. Todo ha cambiado tras la incorporacion definitiva a esta redaccion de Petia B5n. Su llegada coincidio con la inauguracion de la gran exposicion dedicada a la obra fotografica y no poetica de nuestra amiga. Mientras era instruido por la arzodocta Balsameda en sus nuevas obligaciones como redactora artificial solicito acceso a todo el material reunido por la redaccion, al contenido del baul y se descargo ingentes cantidades de datos de los mandatos de archivo correspondiente. Aunque, como todas nuestras lectoras saben, se implico en infinidad de proyectos y en su obra fotografica personal, continuo estudiando en segundo plano todos los documentos relacionados con nuestra Amparo. Petia me presento sus conclusiones finales en la terraza de nuestra redaccion durante una de las meriendas que organiza con los productos que cultiva en su huerta, una aficion un tanto curiosa para alguien de sus caracteristicas, pero que constituyen todo un acontecimiento gastronomico para todas nosotras. Tras una larga introduccion sobre sus habilidades y talentos a la hora de estudiar la infinidad de datos descargados afirmo con total seguridad que estabamos totalmente equivocadas respecto a las dos carpetas. Si bien coincidia en el estado embrionario de la carpeta “B”, esta no era un boceto de la “A”, al contrario, Petia consideraba esa version “A” como un primer proyecto del que surgiria el ejemplar definitivo. Consideraba logico que todo el mundo prestara mucha mas atencion a la version “A”, mucho mas completa a pesar de estar inconclusa y dejar fuera o reflejar muy por encima el ultimo año de la guerra, pues la propia artista parecia considerarla como su esfuerzo principal. Todas las cadenas logicas de analisis y pensamiento le indicaban que la redaccion deberia centrarse en el estudio de ese ultimo año y considerar como algo anecdotico la desaparicion de la artista en el desierto. Para Petia, el argumento de la busqueda del antiguo amor perdido no era mas que una banal excusa para difuminar el verdadero motivo de su viaje y posterior desaparicion. Las conclusiones de Petia, en realidad, no cambiaran la percepcion y popularidad de la artista entre el publico en general, pero producirian un pequeño terremoto en los circulos academicos mas elevados. La desaparicion de las tres inseparables continuara siendo un misterio y, es practicamente imposible, que este sea resuelto tras tantos años, pero los argumentos de Petia rebosaban de la caotica presencia de la verdad revelada y merecian ser escuchados y publicados. La reunion de esa tarde fue de las mas animadas y rapidamente fue seguida de una ebria sesion musical como es norma en esta redaccion antes de iniciar cualquier nuevo proyecto. Las directrices generales de los numeros especiales ya estaban programadas por las cuestoras principales de nuestro mandato por lo que Julia decidio presentar el primer boceto de este numero a Doña Asuncion de Fonseca y Antigua, primera de las cuestoras del tercer mandato, cuando nos visitara al concluir la temporada durante la habitual gira de inspeccion. Estas giras suelen hacerse de forma telematica, pero Doña Asuncion gusta de mantener el contacto directo con las redacciones, conocer al nuevo personal y entregar las recompensas o sanciones presencialmente. La presentacion no deberia suponer ningun problema pues Doña Asuncion alienta la critica, el desarrollo intelectual y el conocimiento entre todas las redacciones sin cortapisas o imposiciones. Con la publicacion de este numero nuestras lectoras comprobaran que dicha presentacion fue todo un exito y nuestro Petia mantuvo una animada charla sobre el arte fotografico de Doña Carmen Montoya de Alba negra y Piedra Blanca, oficialmente siempre se recurre al nombre y apellidos otorgados por su familia adoptiva, antes de recibir la aprobacion de Doña Asuncion. En la presentacion apenas intervino el resto de la redaccion, la cuestora principal, sin duda fascinada por la presencia de una criatura como Petia en nuestro mandato editorial, solo presto atencion a la argumentacion de la metalica redactora. La unica recomendacion de obligado cumplimiento consistia en anunciar en el prologo de la publicacio las teorias sustentadas por Petia y que estas, a pesar del trabajo realizado por el mismo y el resto de la redaccion, deberian ser presentadas como una plausible teoria academica ya que nadie podria conocer nunca las verdaderas razones de la artista para trabajar en esas dos versiones o los motivos de desaparicion en el desierto fueran estos cuales fueran. En varios de estos numeros de Carpa comentamos la imposibilidad de realizar nuestro proyecto de investigacion en el desierto de Aguas calientes por su categoria de reserva natural excepcional y la negativa de las autoridades pertinentes a permitir una expedicion del tipo que planeamos en su momento. La incorporacion de Petia y su inicial categoria militar alivio en parte nuestra decepcion pues pudo conectarse a la red de satelites y realizar un detallado estudio del desierto en busqueda de cualquier dato relacionado con Amparo, Teresa y Condenacion. A pesar de la expectación que levanto entre nosotras la investigacion de Petia, esta no desvelo nada que no supieramos. Identifico los restos de algunas instalaciones militares de los tiempos de la invasion abandonadas mucho tiempo atras junto a diversos yacimientos arquelogicos muy prometedores de sus antiguas pobladoras pero nada que nos ayudara a resolver la desaparicion de nuestra amiga y sus compañeras. Para Petia este fracaso en su busqueda reafirmaba su teoria de la falsa desaparicion de Amparo y que aunque este hecho y algunos otros obligaban a la rescritura de algunos numeros de la serie, abria diversas y profundas lineas de investigacion a cual mas interesante. Este numero se ha estructurado en torno a la carpeta “B” y, evidentemente, nos centraremos en el ultimo año de la guerra y primeros meses tras ella. El mas interesante, sin ninguna duda, periodo en la vida y obra de la fotografa, una obra que volvera a sorprender y conmover a nuestras lectoras casi como si publicaramos Carpa 1808 por primera vez. La carpeta se inicia con el acantonamiento de la unidad de Amparo en las landas de Vurria durante los tres inviernos previos a la ultima ofensiva sobre la capital enemiga. Durante esos meses comenzara a trabajar en una breve, pero interesantisima serie de paisajes por primera vez en su vida. La artista, practicamente, nunca habia mostrado ningun interes por el entorno natural, solo como obligado escenario para sus fotografias aparecia en ellas. Durante los primeros compases de la ofensiva combinara este tipo de fotografias con su trabajo artistico habitual. Un trabajo que abandonara parcialmente durante los duros combates urbanos que la llevaran ante el puente de las pescadoras y el definitivo asalto a la “Guarida”. Cabe destacar que por segunda vez durante la guerra alternara la camara fotografica con los utiles y herramientas del dibujo y la pintura. Quizas influida por la trascendencia del momento, Amparo, prefiere centrarse en sus deberes militares y solo al concluir la campaña realizara las soberbias ilustraciones de sus parvulas en combate. Solo tomara algunas fotografias durante las escasa pausas y momentos muy puntuales de la operacion En Carpa 1508 ya presentamos con detalle el trabajo pictorico realizado durante su viaje en tren rumbo a su primer mando. Meses mas tarde publicamos en los servidores algunas de las obras que presentamos aqui como anucio previo a lo que depararian los siguientes numeros de Carpa. Si bien, preparabamos un numero especial dedicado a estas ilustraciones, he decidido que sera mucho mas apropiado incluirlas en este numero bajo el nuevo enfoque teorizado por Petia y en el entorno originalmente decidido por la artista. Recomiendo tambien mantener abierta la carpeta “A” para apreciar con todo detalle las diferencias con la “B”, de la que hemos subido a nuestros servidores una edicion comentada por esta redaccion. Por ultimo, añadire que, en esta ocasion y, por primera vez, Petia, como no podia ser de otra manera, estara a cargo de la direccion grafica y produccion de este Carpa 708. Introductory Text: As we closed the 1008 edition of Carpa, and with it the issues of our publication dedicated to presenting the portfolio of Doña Carmen Montoya from Alba Negra and Piedra Blanca, we announced our intention to dedicate one of the special issues, specifically this 708, to a detailed study of the last year of the war and the subsequent disappearance of our friend and her companions in the Aguas Calientes desert. There were many reasons that led us to this decision. On the one hand, during that year, Amparo achieved the artistic fulfillment she had long sought, definitively consolidated her romantic relationship with Condenación, and, most importantly for us, began work on the second version of her portfolio. Since Paquita discovered the artist's trunk and its wonderful contents, version "A" has always been considered the one that should become the photographer's definitive tribute to all the combatants against the malice of the "Beast." The so-called "B" folder has always been considered, including this editorial, as a preparatory sketch for the aforementioned one and has never been published in its entirety. We have always referred to it briefly, as a further complement to the author's output. Everything changed after Petia B5n finally joined this editorial team. His arrival coincided with the opening of the major exhibition dedicated to our friend's photographic and non-poetic work. While being instructed by Archbishop Balsameda in his new duties as an artificial editor, he requested access to all the material gathered by the editorial team, to the contents of the trunk, and downloaded vast amounts of data from the corresponding archive mandates. Although, as all our readers know, he was involved in countless projects and his personal photographic work, he continued to study all the documents related to our Amparo in the background. Petia presented her final conclusions to me on the terrace of our editorial office during one of the afternoon teas she organizes with the produce she grows in her garden, a somewhat unusual hobby for someone of her background, but one that constitutes a gastronomic event for all of us. After a long introduction about her skills and talents when it came to analyzing the endless amount of downloaded data, she confidently stated that we were completely wrong about the two folders. While she agreed on the embryonic state of folder "B," it was not a draft of "A." On the contrary, Petia considered version "A" to be a first project from which the final version would emerge. She considered it logical that everyone would pay much more attention to version "A," which was much more complete despite being unfinished and leaving out or only briefly reflecting the last year of the war, since the artist herself seemed to consider it her main effort. Every logical chain of analysis and thought told him the editorial team should focus on the study of that last year and dismiss the artist's disappearance in the desert as anecdotal. For Petia, the plot of the search for her lost love was nothing more than a banal excuse to obscure the true reason for her trip and subsequent disappearance. Petia's conclusions, in reality, would not change the artist's perception and popularity among the general public, but they would produce a small earthquake in the highest academic circles. The disappearance of the three inseparable women will remain a mystery, and it is practically impossible for it to be solved after so many years, but Petia's arguments brimmed with the chaotic presence of revealed truth and deserved to be heard and published. The meeting that afternoon was one of the liveliest and was quickly followed by a drunken musical session, as is customary in this editorial office before starting any new project. The general guidelines for the special issues had already been planned by the principal quaestors of our mandate, so Julia decided to present the first draft of this issue to Doña Asunción de Fonseca y Antigua, the first of the quaestors of the third term, when she visited us at the end of the season during her usual inspection tour. These tours are usually conducted online, but Doña Asunción likes to maintain direct contact with the editorial staff, meet new staff, and present rewards or sanctions in person. The presentation shouldn't pose any problems, as Doña Asunción encourages criticism, intellectual development, and knowledge among all editorial staff without restrictions or impositions. With the publication of this issue, our readers will see that the presentation was a resounding success, and our Petia held a lively discussion about the photographic art of Doña Carmen Montoya of Alba Negra and Piedra Blanca. Officially, the first and last names given by her adoptive family are always used, prior to receiving Doña Asunción's approval. The rest of the editorial staff barely spoke during the presentation; the chief quaestor, undoubtedly fascinated by the presence of a child like Petia in our editorial mandate, paid attention only to the arguments of the metallic editor. The only mandatory recommendation was to announce the theories supported by Petia in the publication's prologue. These theories, despite the work done by Petia and the rest of the editorial team, should be presented as a plausible academic theory, since no one would ever know the artist's true reasons for working on these two versions or the reasons for her disappearance in the desert, whatever they might be. In several of these issues of Carpa, we discussed the impossibility of carrying out our research project in the Aguas Calientes Desert due to its status as an exceptional natural reserve and the refusal of the relevant authorities to allow an expedition of the type we had planned at the time. Petia's inclusion and his initial military status partially alleviated our disappointment, as he was able to connect to the satellite network and conduct a detailed study of the desert in search of any information related to Amparo, Teresa, and Condenación. Despite the excitement Petia's investigation raised among us, it didn't reveal anything we didn't already know. She identified the remains of some long-abandoned military installations from the invasion, along with several very promising archaeological sites belonging to their former inhabitants, but nothing that would help us solve the disappearance of our friend and her companions. For Petia, this failure of her search reaffirmed her theory of Amparo's false disappearance. Although this fact and several others required rewriting some issues in the series, it opened up various and in-depth lines of investigation, each more interesting than the last. This issue has been structured around the "B" folder, and we will obviously focus on the last year of the war and the first months after it. Without a doubt, this was the most interesting period in the photographer's life and work, a body of work that will once again surprise and move our readers, almost as if we were publishing Carpa 1808 for the first time. The portfolio begins with the quartering of Amparo's unit in the Vurria moors during the three winters prior to the final offensive on the enemy capital. During those months, she began working on a brief but extremely interesting series of landscapes for the first time in her life. The artist had practically never shown any interest in the natural environment; it appeared in her photographs only as a necessary backdrop. During the early stages of the offensive, she combined this type of photography with her usual artistic work. A practice she would partially abandon during the fierce urban fighting that brought her to the Fisherwomen's Bridge and the final assault on the "Guarida." It's worth noting that for the second time during the war, she alternated her camera with the tools of drawing and painting. Perhaps influenced by the significance of the moment, Amparo preferred to focus on her military duties and only at the end of the campaign did she produce the superb combat illustrations for her children. She only took a few photographs during the few pauses and at very specific moments during the operation. In Carpa 1508, we already detailed the pictorial work completed during her train journey to her first command. Months later, we published some of the works we present here on the servers as a preview of what would come in subsequent issues of Carpa. Although we were preparing a special issue dedicated to these illustrations, I decided it would be much more appropriate to include them in this issue under the new approach theorized by Petia and in the setting originally chosen by the artist. I also recommend keeping folder "A" open to fully appreciate the differences with "B," for which we have uploaded an annotated edition to our servers. Finally, I'll add that, on this occasion and for the first time, Petia, as expected, will be in charge of the graphic direction and production of this Carpa 708.
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Khlas Sex Animations and custom contents for The Sims 4 View File Consider supporting me on Patreon, animations takes a lot of time so if you want to see more it's a great way to do so. https://www.patreon.com/khlas Do not redistribute ; Do not resell it ; Do not convert it ; Do not use any assets in a way not intended by myself ; Ask permissions always if you want to do anything with my stuff other than using it as I intended. PLEASE Credit me if you use my animations. I still see people using them on twitter or whatever without giving any credit, please respect my work. Thanks. Hello, I'm Khlas, I started animating around one year ago. I'm also the creator of the rig from WickedWhims that unlock animations for Anus, Vagina and Butt, and created the tongue prop rig. It was a collab project with Turbodriver and Noir, tho I started working on it completely alone way before and it was entirely for personal use, but I think it's better to make it profit for everyone. I also unlocked pectoral jiggles for males, more info below. Since the descriptions here was a bit old, I am going to change it from time to time. My mods consist of multiples files : - Animations, mostly focused for Males on males only. With my own sounds, sounds from the game, own effects, effects from the game, and made entirely by hand with blender and s4studio using my own workspace and rig. - Created a pee animation replacer mod. - I unlocked meshes for males that let their pectoral being animated. It's included on the files, meshes from others creators I converted to be able to be animated/used during animations (credit to their author) you need to select them with the body selector, and that's it. They will jiggle with animations that are compatible. It's also compatible with BS boobies jiggle mod from tonicmole. - I added some clutter and decorative items aswell. If you want them, don't hesitate to download. - I created mods available to the public from my patreon page. Check it out if you are interested by romantic animations interactions. - The "KhyanLoadingScreen.package" modify your loading screen with nude erected Khyan. This file is entirely optional. Do not delete any others files if you don't want to have the loading screen replacer. - There is a wicked gay porn video for your game you can download too, it will be under the watch porn interaction from TV or computer, then "the boy and the stallion". Installation : Unzip and install in you mods folder. How to unzip files : https://www.patreon.com/posts/how-to-use-7zip-76994195?utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=postshare_creator&utm_content=join_link You can access to the list of animations here : https://docs.google.com/spreadsheets/d/e/2PACX-1vTVBPjw0Iji_yDusYLNe3sLqT4fGIuTmDDLqv27eZqKJn7M2ILzdNIhplF13IRFsg/pubhtml However the list is incomplete, for others available animations, refers to the updated download page. I will edit that page whenever I update my mods with new stuff soon. In order to display the animations properly, you need a Large penis model on your top male sim, and then using the Wickedwhims sliders (100 lenght, 60-80 girth). Happy simming. Submitter Khlas Submitted 04/19/2021 Category Animations - WickedWhims Requirements Wickedwhims
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The Sisterhood of Dibella SE (January 2025) View File This is the official Special Edition version of Sisterhood of Dibella. You can view the full details at the Legendary Edition page here. Features: Assist in the initiation of an older Sybil of Dibella Improved Sisterhood of Dibella, with better outfits and activities Improvements to the Temple (beds, items, scripted altar) Traveling Sisters with unique services A new model for marks of Dibella. Redeem marks to the Sybil for perk points. Scripted initiation of the Sybil, with SexLab scenes A new Shrine of Dibella (in a warm location) A quest to become a Travelling Sister and collect donations for the Temple Help - Walkthrough: Sisterhood of Dibella: FAQ Sisterhood of Dibella: Walkthrough User manual (PDF) Requirements: SexLab is required. There is no plan for OStim at the moment. Zaz animation pack V7.0 or later Optional: Fuz Ro D-oh Compatibility: The mod comes as loose files with my current make up of meshes for CBBE. You will want to refresh them with Bodyslides using these converted files: SexLab Dibella Sisterhood 3BA Bodyslides Fjotra Replacer This mod was originally intended for female player characters, but I started opening it up to male characters as well. It hasn't been fully tested for male players past the first few quests. SexLab_DibellaCult.esp needs to be loaded BEFORE SexLab_DibellaCult_Sisters.esp You can ignore the 'sisters' add on if you don't care about seeing the sisters change outfits during the quest. This mod is designed to fit in with my other mods: SexLab Hormones - The stone flowers on the altar in the temple act as in-game configuration options. One of these options enables a forced sex change after the quest to retrieve Fjotra from captivity. That sex change will only work if you have Hormones installed. Sanguine Debauchery + - Sleeping in the Temple gives you a 50% chance of visiting Sanguine's Dreamworld. Sanguine will also recognize you started the quest with the sisters and make some comments about it occasionally. Acknowledgements: This mod includes assets from the following mods (with permission) Mark of Dibella model based on Gold Coins of the world @azmodan22 for unique Dibella statues. Thanks again for the contribution! @Verodor for the German translation @Content_Consumer , @Skoalbite and @Old_book for dialogues Agent of Dibella outfit for the player ( KIBELIUS outfit - only the dress ) Sybil corrupted ( R18pn lingerie by KURESE ) Sybil pure ( Salome dress CBBE convert by Chupy ) Sisters corrupted ( Jewelry outfit for CBBE by Gatti ) Sisters pure ( Ashara Imperial Wedding Dress for UNP by SydneyB ) Submitter DeepBlueFrog Submitted 02/28/2023 Category Quests Requirements SexLab, Zaz animation pack Regular Edition Compatible Not Applicable
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Saw this black n white art on Pinterest and digitally colored it on photoshop. Shout out to the original creator.
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- harley quinn
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Version 16/06/2025
9,120,176 downloads
Consider supporting me on Patreon, animations takes a lot of time so if you want to see more it's a great way to do so. https://www.patreon.com/khlas Do not redistribute ; Do not resell it ; Do not convert it ; Do not use any assets in a way not intended by myself ; Ask permissions always if you want to do anything with my stuff other than using it as I intended. PLEASE Credit me if you use my animations. I still see people using them on twitter or whatever without giving any credit, please respect my work. Thanks. Hello, I'm Khlas, I started animating around one year ago. I'm also the creator of the rig from WickedWhims that unlock animations for Anus, Vagina and Butt, and created the tongue prop rig. It was a collab project with Turbodriver and Noir, tho I started working on it completely alone way before and it was entirely for personal use, but I think it's better to make it profit for everyone. I also unlocked pectoral jiggles for males, more info below. Since the descriptions here was a bit old, I am going to change it from time to time. My mods consist of multiples files : - Animations, mostly focused for Males on males only. With my own sounds, sounds from the game, own effects, effects from the game, and made entirely by hand with blender and s4studio using my own workspace and rig. - Created a pee animation replacer mod. - I unlocked meshes for males that let their pectoral being animated. It's included on the files, meshes from others creators I converted to be able to be animated/used during animations (credit to their author) you need to select them with the body selector, and that's it. They will jiggle with animations that are compatible. It's also compatible with BS boobies jiggle mod from tonicmole. - I added some clutter and decorative items aswell. If you want them, don't hesitate to download. - I created mods available to the public from my patreon page. Check it out if you are interested by romantic animations interactions. - The "KhyanLoadingScreen.package" modify your loading screen with nude erected Khyan. This file is entirely optional. Do not delete any others files if you don't want to have the loading screen replacer. - There is a wicked gay porn video for your game you can download too, it will be under the watch porn interaction from TV or computer, then "the boy and the stallion". Installation : Unzip and install in you mods folder. How to unzip files : https://www.patreon.com/posts/how-to-use-7zip-76994195?utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=postshare_creator&utm_content=join_link You can access to the list of animations here : https://docs.google.com/spreadsheets/d/e/2PACX-1vTVBPjw0Iji_yDusYLNe3sLqT4fGIuTmDDLqv27eZqKJn7M2ILzdNIhplF13IRFsg/pubhtml However the list is incomplete, for others available animations, refers to the updated download page. I will edit that page whenever I update my mods with new stuff soon. In order to display the animations properly, you need a Large penis model on your top male sim, and then using the Wickedwhims sliders (100 lenght, 60-80 girth). Happy simming.- 78 reviews
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Adds more types of Sculpture. If you want to add stuff DM me (Is that a thing you can do here?) RJW compatibilities are in place! Now with 1.3! https://drive.google.com/drive/folders/1KOeVYlkx08ULgWx_YPG6rAYGFeUwcbPX?usp=sharing https://drive.google.com/drive/folders/1KOeVYlkx08ULgWx_YPG6rAYGFeUwcbPX?usp=sharing
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I remember long time ago I had a mod like this but I remember I could add my own images. They were non replacers and had a separate nsfw category so I could make normal art or nsfw art that I could add myself to the mod( at least i believe I could add my own) It was not lorefriendly or realistic at all just an extra custom category for art. Anyone knows which mod it is?
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Commonwealth Creature Features & Animations by Leito This is a work in progress thread on the various shenanigans I'm working on for Fallout 4. Although SexTech is still a ways out, I'm going to start playing with ideas and preparing content for when that day comes. I'm currently working on schlongifying the creatures of the commonwealth, rigging them, and concepting animations. ---- Current List ----- Humans Bloatfly Canine Feral Ghoul Gorilla Super Mutant *Deathclaw (future) *Mirelurk King (future) *Assaultron (future) *Protectron (future) *Mutant Dog (future) -------------------------- Human Rigging - 95% Complete Bloatfly Schlong - 95% Complete Rigging - 95% Complete Canine Schlong - 95% Complete Rigging - 5% Complete Feral Ghoul Schlong - 95% Complete Rigging - 95% Complete Gorilla Schlong - 95% Complete Rigging - 0% Complete Super Mutant Schlong - 95% Complete Rigging - 95% Complete ------- Special Thanks -------- Ashal & Loverslab DexesTTP ShadeAnimator Nifskope Team Bethesda Everyone else (sorry if I forgot your name) --------------------------
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Sisterhood of Dibella - OStim Conversion View File 69th post (nice). With permissions from DeepBlueFrog, suggested by cowksullboy, I present to you an OStim conversion of The Sisterhood of Dibella. Refer to the original (LE) post for more details. Become the newest Sister in the Sisterhood of Dibella, and help the declining following restore their Goddess' name. Practice as much of the Dibellan Arts as you wish, with the full scene control capabilities of OStim. Should be functioning as intended based on my short playthroughs of both the original SexLab version and my conversion, without the need to wait 3 minutes for an animation to play. Requirements: OStim Standalone The Sisterhood of Dibella SE - follow the original posts' installation instructions. ZaZ Animation Pack - Original post says v7, everything seems to work fine with ZAP8+, which is already independent of OStim (ignoring the log messages) Fuz Ro D-oh Backported Extended ESL Support if you are not on Skyrim 1.6.1130 or above. The addon is a standalone edit of JK's Temple of Dibella for the Sisterhood of Dibella, from the original post, cleaned to work with OStim. This mod must overwrite the original. Integrations with SD+ and SexLab Hormones has not been tested, and is probably broken and requires those mods to be converted to OStim too. Mini walkthrough: Credits: DeepBlueFrog for the original mod OStim community for OStim Standalone Support: I do intend to maintain and upkeep this mod, and any others made by me, until the OStim community eventually remake their mod again or something... I check each of my support threads often and offer support for all of my mods. I also check DMs on this site. If you would like to, consider supporting me (Kofi). Closing notes: Yet another conversion finished (this was just waiting on permissions). More updates to my other mods before another conversion, probably. Apologies for doing the quest as a male character..... Submitter FxD2 Submitted 05/28/2024 Category Adult Mods Requires OStim Standalone, Sisterhood of Dibella, ZaZ Animation Pack Regular Edition Compatible No
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[Simfan] The men of Brenden Sandborn View File I discovered recently the work of Brenden Sandborn. I felt that my Sims needed more beauty in their life. I tried to divide a selection of his art in four files for us all to enjoy. Watercolor Lines Color Other [Edit] It seems I have a hard time to add pictures today. I will try to review the attachments later. Submitter Simfan Submitted 04/10/2025 Category Objects
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Version 1.0.0
2,230 downloads
I discovered recently the work of Brenden Sandborn. I felt that my Sims needed more beauty in their life. I tried to divide a selection of his art in four files for us all to enjoy. Watercolor Lines Color Other [Edit] It seems I have a hard time to add pictures today. I will try to review the attachments later. -
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fine flora collection View File The new fine floral collection featuring fine women and fine flowers form over the world. Enjoy these drawings in a charcoal and color style drawings! there are 8 fine women to choose from. Requires vintage glamour dlc thanks to all for supporting my earlier work! Submitter numbchuckers Submitted 03/27/2025 Category Objects
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patches of fairness collection by numbchuckers.package View File My new abstract nude art collection. 11 images all with different women in different settings. this time a little more art-focused but no less nude and sexy. requires basegame and Lovestruck DLC thanks to all for my supporting my earlier work. Submitter numbchuckers Submitted 03/27/2025 Category Objects
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Carpa 1888 significa el cierre de los Carpa dedicados a narrar la historia de Amparo y sus compañeras. El trabajo 3d me exige un tiempo excesivo y preferio pausar este trabajo. Es por ello que cerrare su historia, momentaneamente, con algunos numeros especiales trabajando junto a una IA para recrear a partir de mis diseños 3d la realidad del planeta en el que se narra la historia. Puede que revise los anteriores o no, pero si que los numeros especiales que pensaba hacer en 3d para personajes, uniformes y demas los realizare de esta manera. Google translator: Carpa 1888 marks the end of the Carpa series dedicated to telling the story of Amparo and her companions. The 3D work is taking up too much of my time, and I've decided to pause it. That's why I'll be closing out their story, temporarily, with a few special issues working alongside an AI to recreate the reality of the planet where the story takes place, based on my 3D designs. I may or may not revise the previous ones, but the special issues I planned to do in 3D for characters, uniforms, and more, will be done this way. Esta es la portada provisional, en ella aparece la interpretacion por la ia de Carmencita, mejor conocida como la "Bestia". Para este personaje diseñe una linea de vestuario completa. This is the provisional cover, featuring AI's interpretation of Carmencita, better known as the "Beast." I designed a complete wardrobe for this character. Estas son algunas paginas realizadas hasta el momento. En este anuncio he incluido anuncios publicitarios de las compañias t empresas ficticias que se mencionaban en Carpa. These are some pages created so far. In this post, I've included advertisements for the fictitious companies mentioned in Carpa. Estas son algunas de las imagenes en las que he ido trabajando en ellas aparecen diversos personajes de la revista asi como algunos de sus uniformes. Es divertido trabajar junto a una ia pero todavia tengo que aprender mucho para que siga fielmente mis indicaciones. These are some of the images I've been working on. They feature various characters from the magazine, as well as some of their uniforms. It's fun working alongside an AI, but I still have a lot to learn to get it to faithfully follow my instructions.
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Erotic Art - AI Replacer View File Replacer for "Erotic Art" mod This mod is just texture replacer so you need original Erotic Art mod for it, and also expanded version for more pictures: https://www.nexusmods.com/fallout4/mods/44748 Separated on 5 parts cos of upload file size limit. In total it contains 880 images in 2K resolution almost all of them were replaced by AI generated images created by various artists, taken from Rule34. Magazines covers did not replaced, also pictures titles in workshop menu stay original. I took most good looking pictures and made some correction for strange looking parts, there is no special order everythig is pretty messy, just a quick replace. In original Erotic Art mod you need to find magazines to be able to build this pictures, picture frames and pictures itself are separate buidable odjects, so you build frame at first and than add picture into it, or you can build just picture, it will looks like poster. in original mod there is no square format, but i turned some pictures into square, it work ok without frame anyway, but i create a small mod that adds square frame if you really need to it. one issue - it has no snapping points and after you place it on a wall you will place picture in it approximately. Installation: can be installed though mod manager as it is, or repacked into one archive, also can be manually placed into folder Data\Textures\culturedposters Submitter RonRid Submitted 06/27/2024 Category Models & Textures Requires Erotic Art
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[Moroniixx] Furry Yiff Art (Gay&Straight, BDSM, 32 images) View File A selection of my favorite Yiff paintings (32 in total) in a very high resolution and partly even AI-Upscaled. I found most of them on X/Twitter and in different telegram groups, so I can't name the original creators for all of them right away. A reverse image search will probably tell tho. The paintings are a mix of gay/straight NSFW pictures, mostly BDSM themed. The two different files contain the exact same images but in different sizes. This is my first attempt on creating CC, so I'd appreciate some feedback in case there are any issues 🙂 Submitter moroniixx Submitted 02/13/2024 Category Objects Requires Nothing (afaik)
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Version 5.0
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Version 5.0 is here! The Mafia Playboy Collection is now in High Definition! All Textures have been remade and are now up to 4x bigger than the previous version. Enjoy new crystal clear images. The very best of the Vintage Mafia Playboy selection is now available for your Sims' living room. Fans of the game will recognize the tasteful erotic pictures which are collectible throughout the story of Mafia 2, Joe's Adventures and Mafia 3. This mod contains various formats with many swatches and overall includes all issues from the three games. Portrait Square Vertical Horizontal Wide (requires Cats & Dogs) -
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:
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Dick Face Tattoo View File Just adding some things. Submitter MayaMaeaWah Submitted 11/07/2022 Category Other Requires X
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Version 1.0.0
13,146 downloads
These neon art pieces are part of my Themed Month on Patreon. I’m sharing them here so I don’t have to change my PG-13 rating. They’re designed to add some vibrant energy to your nightclub settings. Enjoy, and have fun with them! -- Name: After Dark Description: When the night comes alive, so does After Dark. A bold yet minimalist neon art piece, this sign captures the essence of allure with just a few well-placed glowing lines. Whether it graces the walls of a high-end lounge or a gritty underground nightclub, it leaves just enough to the imagination—because some things are best discovered after the lights go down. Style: Basics Price: 200 Simoleons -- Name: Neon Voltage Description: The hum of neon cuts through the dark, a pulse of color against the haze of the night. Silhouetted in electric light, the dancer moves with slow, deliberate confidence, every curve and motion outlined in an unspoken rhythm. There’s a charge in the air—something between invitation and challenge, between art and temptation. To the observer, time stretches and folds into the music, each flicker of light casting the illusion of movement even when the dancer is still. Maybe it's the late hour, or maybe it's the way the neon glows just right, but for a moment, nothing else exists—just the shape of a figure caught between shadow and fluorescence, a spectacle of motion wrapped in a static frame. For the dancer, the stage is both a performance and a playground. Each shift of weight, each turn of the wrist is an unspoken conversation, a language of motion understood without words. The neon hums like a heartbeat, steady and bright, keeping time with the unrelenting rhythm of the night. Style: Basics Price: 200 Simoleons -- Name: Bite the Glow Description: A seductive flash of neon with just the right amount of bite. This glowing mouth, painted in vibrant hues and speckled with a touch of glitter, catches the eye and won’t let go. As the lights dim, the glitter comes alive, making this piece as electrifying as it is captivating. It’s bold, it’s playful, and it’s made to turn heads in any nightclub. Style: Basics Price: 125 Simoleons -- Name: Sip & Sin Description: Step into the night and indulge in a little decadence. This neon beauty lounges effortlessly in her oversized cocktail glass, savoring a drink with the confidence of someone who knows exactly how to enjoy the finer things in life. Whether she’s gracing the walls of a sultry speakeasy, a neon-drenched nightclub, or a private lounge where the drinks flow freely and the rules are optional, Sip & Sin sets the perfect mood. After all, what’s a night out without a little temptation? Style: Basics Price: 200 Simoleons -- Name: Faded Desire Description: A faded neon sign that once demanded attention, now left to flicker in the shadows. The glowing outline of shapely legs in high heels stands as a quiet reminder of the club’s past—playful, seductive, and full of stories that have long since faded. The flicker of the neon is a soft echo of its former glory, with the faint glow casting an almost melancholic vibe as it stands forgotten by the door. Once a symbol of late-night allure, now it’s a quiet monument to a bygone era, waiting for someone to remember. Style: Basics Price: 80 Simoleons -
Neon Art Signs for a Nightclub View File These neon art pieces are part of my Themed Month on Patreon. I’m sharing them here so I don’t have to change my PG-13 rating. They’re designed to add some vibrant energy to your nightclub settings. Enjoy, and have fun with them! -- Name: After Dark Description: When the night comes alive, so does After Dark. A bold yet minimalist neon art piece, this sign captures the essence of allure with just a few well-placed glowing lines. Whether it graces the walls of a high-end lounge or a gritty underground nightclub, it leaves just enough to the imagination—because some things are best discovered after the lights go down. Style: Basics Price: 200 Simoleons -- Name: Neon Voltage Description: The hum of neon cuts through the dark, a pulse of color against the haze of the night. Silhouetted in electric light, the dancer moves with slow, deliberate confidence, every curve and motion outlined in an unspoken rhythm. There’s a charge in the air—something between invitation and challenge, between art and temptation. To the observer, time stretches and folds into the music, each flicker of light casting the illusion of movement even when the dancer is still. Maybe it's the late hour, or maybe it's the way the neon glows just right, but for a moment, nothing else exists—just the shape of a figure caught between shadow and fluorescence, a spectacle of motion wrapped in a static frame. For the dancer, the stage is both a performance and a playground. Each shift of weight, each turn of the wrist is an unspoken conversation, a language of motion understood without words. The neon hums like a heartbeat, steady and bright, keeping time with the unrelenting rhythm of the night. Style: Basics Price: 200 Simoleons -- Name: Bite the Glow Description: A seductive flash of neon with just the right amount of bite. This glowing mouth, painted in vibrant hues and speckled with a touch of glitter, catches the eye and won’t let go. As the lights dim, the glitter comes alive, making this piece as electrifying as it is captivating. It’s bold, it’s playful, and it’s made to turn heads in any nightclub. Style: Basics Price: 125 Simoleons -- Name: Sip & Sin Description: Step into the night and indulge in a little decadence. This neon beauty lounges effortlessly in her oversized cocktail glass, savoring a drink with the confidence of someone who knows exactly how to enjoy the finer things in life. Whether she’s gracing the walls of a sultry speakeasy, a neon-drenched nightclub, or a private lounge where the drinks flow freely and the rules are optional, Sip & Sin sets the perfect mood. After all, what’s a night out without a little temptation? Style: Basics Price: 200 Simoleons -- Name: Faded Desire Description: A faded neon sign that once demanded attention, now left to flicker in the shadows. The glowing outline of shapely legs in high heels stands as a quiet reminder of the club’s past—playful, seductive, and full of stories that have long since faded. The flicker of the neon is a soft echo of its former glory, with the faint glow casting an almost melancholic vibe as it stands forgotten by the door. Once a symbol of late-night allure, now it’s a quiet monument to a bygone era, waiting for someone to remember. Style: Basics Price: 80 Simoleons Submitter Aeshma7 Submitted 02/12/2025 Category Objects
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Por fin he iniciado el trabajo en Carpa 1988, el numero fotografico que debia haber cerrado el año pasado pero que por diversos problemas cotidianos he idi retrasando. En esta entrada prefiero que sea Adoracion quien nos introduzca en este nuevo numero Como comunicamos en su momento, toda una serie de contratiempos cotidianos han retrasado la aparición de este nuevo numero de Carpa. Si en un principio, el autor, había decidido dedicarlo a una breve serie de estudios rurales combinados con su recetario familiar, la casualidad ha querido que una infección virica prolongada lo impidiera. Durante su enfermedad y posterior reposo en cama, Jose Carlos, para combatir el tedio y aburrimiento asociado a dichos estados comenzó a ir recopilando los pequeños clips realizados con ayuda de inteligencia artificial que se suelen publicar en diferentes redes sociales con diversa intención. Como todo el mundo puede imaginar, el fotógrafo, tras saturarse de muchachas orientales y sus alocados bailes e infinitos desfiles carnales, decidió dar una oportunidad al hecho de trabajar junto a una inteligencia artificial, el propio Jose Carlos se refiere así a la utilización de este tipo de herramientas, partiendo de los diseños y trabajos realizados durante los últimos años en el campo del 3d para comenzar así un extraño viaje, onírico, añadiría yo, que parte de la realidad en la que se basa el modelado 3d y vuelve a nosotras a través de la interpretación que realiza una IA de las imágenes e instrucciones que proporciona el artista. El trabajo presentado en esta edición se ha dividido en tres grandes bloques: desierto, interiores y una tercera sección, que bajo el sugerente titulo de: Doris Day contra los marcianos, cerrara este Carpa 1988. A las seguidoras de las publicaciones de este mandato editorial no sorprenderá en absoluto esta elección del autor, de sobras es conocida la pasión del mismo por los desiertos y, especialmente, por su flora y vegetación. Todas recordamos, con deleite, sus creaciones de algunos elementos de su obra gráfica basados en cactus y plantas crasas o por no mencionar que durante largos años su obra fotográfica se agrupo bajo el sugerente titulo de: Gente divirtiéndose en interiores, un trabajo que se compagina de forma fluida y perfecta con su serie arquitectónica o la dedicada a su ciudad natal. A lo largo de las paginas de esta publicación podremos asomarnos al cinematográfico mundo que se oculta, sin mucho éxito es cierto, en la obra artística de Soto. Quizás sea una presencia mucho mas evidente ahora, cuando la enfermedad ha permitido revisar los clásicos favoritos del fotógrafo incansablemente uno tras otro y, esto es una opinión muy personal, realizar las fotografías que, por diversos motivos, nunca pudo realizar pero era imposible negarlas. Este será un numero prácticamente mudo, dejando de lado las habituales paginas introductorias, las imágenes se sucederán una tras otra sin ningún tipo de apoyo textual. Así mismo, el fotógrafo ha decidido que no se especificara ninguno de los procesos que llevaron a su creación o su punto de partida, para Soto, las fotos se han convertido en reales, tanto como puedan serlo las realizadas durante tantos años con cualquiera de sus cámaras, ya sea con su primera réflex o el ultimo de los dispositivos digitales que utiliza. Google translator I have finally started work on Carpa 1988, the photo issue that should have closed last year but which I have been delaying due to various daily problems. In this entry I prefer that Adoracion introduce us to this new issue. As we reported at the time, a whole series of daily setbacks have delayed the appearance of this new issue of Carpa. Although the author had initially decided to dedicate it to a short series of rural studies combined with his family recipe book, chance has it that a prolonged viral infection prevented this. During his illness and subsequent bed rest, Jose Carlos, to combat the tedium and boredom associated with these states, began to compile the small clips made with the help of artificial intelligence that are usually published on different social networks with different intentions. As everyone can imagine, the photographer, after being saturated with oriental girls and their crazy dances and endless carnal parades, decided to give a chance to the fact of working with an artificial intelligence, Jose Carlos himself refers to the use of this type of tools in this way, starting from the designs and works carried out during the last years in the field of 3D to begin a strange journey, dreamlike, I would add, that starts from the reality on which 3D modeling is based and returns to us through the interpretation that an AI makes of the images and instructions provided by the artist. The work presented in this edition has been divided into three large blocks: desert, interiors and a third section, which under the suggestive title of: Doris Day against the Martians, will close this Carpa 1988. The followers of the publications of this editorial mandate will not be surprised at all by this choice of the author, his passion for deserts and, especially, for their flora and vegetation is well known. We all remember, with delight, his creations of some elements of his graphic work based on cacti and succulent plants, not to mention that for many years his photographic work was grouped under the suggestive title of: People having fun indoors, a work that blends seamlessly and perfectly with his architectural series or the one dedicated to his hometown. Throughout the pages of this publication we will be able to peek into the cinematic world that is hidden, without much success it is true, in Soto's artistic work. Perhaps it is a much more evident presence now, when the illness has allowed us to review the photographer's classic favorites tirelessly one after another and, this is a very personal opinion, to take the photographs that, for various reasons, he was never able to take but it was impossible to deny them. This will be a practically silent issue, leaving aside the usual introductory pages, the images will follow one after another without any kind of textual support. Likewise, the photographer has decided not to specify any of the processes that led to their creation or their starting point. For Soto, the photos have become real, as real as those taken over so many years with any of his cameras, whether with his first SLR or the latest of the digital devices he uses. Subo ahora algunas de las primeras paginas en las que he trabajado. Some pages: Y he aqui algunas de las fotografias en las que trabajo And some photos La ultima imagen la hice pensando en otros proyectos. I made the last image thinking about other projects.