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Este fin de semana he concluido con el trabajo en "Interior" y ya se encuentra muy avanzada la ultima seccion de Carpa 1408. En esta entrada incluire algunas de las ultimas paginas realizadas y tras las ultimas correcciones de texto e ilustraciones, espero publicar en breve. En esta ocasion añadire algunos de los textos que acompañan las imagenes aunque su traduccion al ingles sera via google. Las primeras imagenes que subo, pertenecen al final de "Interior". Google translator: This weekend I have concluded the work on "Interior" and the last section of Carpa 1408 is already very advanced. In this entry I will include some of the last pages made and after the last corrections of text and illustrations, I hope to publish shortly . On this occasion I will add some of the texts that accompany the images although their translation into English will be via Google. The first images I upload belong to the end of "Interior". Esta seria la traduccion automatica al ingles de la doble pagina en la que inclui la ilustracion que presentaba en la entrada anterior. This would be the automatic translation into English of the double page in which I included the illustration that I presented in the previous entry. The bulk of Candelaria's interior collection was arranged chromatically. Blue, White and Red grouped the elegant intimate pieces, all of them far from any everyday use and always presented as a sensual dream reality. Amparo adapts to the designer's nomenclature, but, as we have already commented on so many occasions, it mercilessly subjects it to her particular aesthetic vision. To open the three collections, Amparo uses a black and white fragmentation of one of the main references but eliminates, from the entire page, any commercial content and, opposing “Interior”, adds the word “Outside” as a solitary non-poetic term that defines all your work for this section. The photography has been worked with techniques similar to those used in the introduction; on this occasion, the division into three seems to take us to the sandy circus ring or the stage of a music hall. Unknown sorceress seems to perform a magical number and has cut her assistant into three fragments. The photographer, fun and mysterious, discreetly announces the work that we will see below. A work where the non-poetic world of Amparo and Teresa is present and emerges from a rough ocean of illusion and fantasy wearing trappings of magical sensory seduction. Amparo did not save the sessions for “Interior” in their entirety, she only archived the main pages already laid out and some individual pages that we do not know how they would fit into the landscape format of the catalog. These individual photographs can only be described as masterful and, our friend, dances between the various styles with total naturalness, Amparo, seems to smile and hum a popular song while shooting, a happiness that emerges, without any blush, from the included notes with the photographs. If we have first seen the sober and objective shot of the red transparency, in the second photograph that we include in this edition, Amparo, constructs a surprising image full of uncontrollable desire and sick passion, a poetics of the flesh to which we can only surrender ourselves without remedy, all resistance is futile. A photograph with which she is very satisfied and, as she writes on the back, she has saved the entire process followed to create it. Those notes have not reached our hands, but Amparo tells on the back how the photograph was taken directly, without laboratory processes and playing only with lighting in a small set used, long ago, by propaganda companies. As we will see later, Amparo seems to want to combine these individual images with the previously mentioned headers. The artist does not give, as we often curse, any indication about her intentions, apart from her personal notes full of technical notes, she denies any argument to her future readers and confronts their senses, abruptly, with her final work without concessions, which Each of us immerses herself in her non-poetic interior and weaves her own conclusions and builds, from her personal references, if she had them, the ultimate meaning of the photographs. Thus, she will present all the references of the different titles wrapped in creamy tones in which the model and her combination with “Rior” and the color associated with it will blend. On this occasion, Amparo prefers to blind the colors and deceive, perhaps with some malice, her audience. Red will be blue, Blue will be white and White will be transformed into red. Among the pages of this part of the catalog, Amparo will include a graphic non-poem constructed from some photographs taken for the catalog. Subjected to intense laboratory work, each double page becomes a poetic plea associated with the joy of living that we have mentioned previously and included in the catalog after being torn from the walls of the capital as if it were glued posters. one on top of the other, and torn by the passage of time. The different advertising messages sectioned by chance and the anonymous intervention of the urban walkers become the chorus that accompanies the non-poetic simultaneous song, which embraces Candelaria's references, to give them a modern and definitive futuristic vision, unique in our history of the photographic art that, unfortunately, would be born and die with Amparo and only the intuition of our Paquita allowed it to be rescued. Y aqui la traduccion de la siguiente doble pagina: And here is the translation of the following double page: “nas nara this afternoon” was a non-poetic collective exercise that our two friends created during their stay on the front line. Basically it consisted of adding a new verse to the first one almost automatically and it always had to start with “nas nara”. Amparo tells how she and her preschoolers turned the original pastime for two into a deep, non-poetic reflection on the automatisms that are triggered in our minds, when faced with the stimuli triggered by a simple phrase. Amparo does not argue for the visual conversion of the poetic oral game, but it would not be at all strange if it became a kind of secret greeting for her toddlers. Let us not forget that the catalog would be published after the near victory, or so everyone in our empire hoped, and many of their rifles would already be demobilized or about to be. nas nara this afternoon, nas nara liter bread, nas nara under the window, nas nara when you die. This short example was transcribed by Amparo on the back of the photograph that accompanies these lines and that was archived along with the other two that we have mentioned. Along with the transcription, Amparo narrates the possibility of developing a photographic line with a markedly erotic tone, bordering on pornography, to present some of the references of the collection. Although she worked intensely on the snapshots to blur her explicit message, these photographs were not to Candelaria's liking. The designer argued that most of her clients liked to imagine the moments in which they would show their clothes rather than viewing such direct scenes. In reality, according to Candelaria, the secret of her success with this interior line lay in the elegant insinuation that she whispered to her future buyers and the discreet excitement that she developed in her imagination fantasizing about that long-awaited moment in which they would shine her designs. Many other brands had specialized in creating collections of underwear for daily life in all its facets and were not interested in competing with them, the philosophy of their designs had led them to dominate the market and it would be counterproductive to go further and lose prestigeso hard earned. Amparo does not write her opinion about Candelaria's refusal and she continued working on the photographs in the collection without demonstrating any type of displeasure. If we carefully review her archived notes, we will notice how Candelaria only opposed Amparo's ideas on this issue and the use of her private equipment as a model. The connection between the two creators appears solid and the ideas between the two flow without obstacles, although it becomes evident that Amparo's creative force begins to influence Candelaria little by little, as we mentioned pages ago. Due to logical editing problems, we will not present all the photographs taken by Amparo for this section, they will be included in our annexes, I have preferred to include the headers of the different sections and the more personal work of our two friends for this interior line. To close this block, I have selected one of the pages as a sample of our friend's photographic work and it will serve as a link with the magazine to the great collection. It will be the last one in which Iva will appear as the protagonist and there is no doubt that she does so unforgettable way. In the editorial team we believe that the disappearance of the model from the rest of the catalog would be due to her incorporation into the popular army. Our readers will find below our usual farewell page, normally the last of all the editions, but in this issue, we have preferred to do it with the closing page that Amparo designed to link with the commercial section of the catalog and which will not be shown here . Although many of the references were included in the later catalog and we could have attempted to reconstruct them, Amparo did not archive any of these pages and only kept some of the photographs that would divide it. So the entire editorial team, unanimously, preferred to close the edition with the last page that Amparo designed for the large collection. Esta es la doble pagina que abre el analisis de la gran coleccion para la primera primavera. Traduccion del texto de la doble pagina superior: Translation of the text on the upper double page: After the presentation page and its introductory text, it was common for the page that opened the large collection of that station to include, in turn, a photograph and a brief biographical profile of the artist selected to direct the edition of the catalog, as was the case of our Amparo. Although it was usual for the selected photographer to only be in charge of the graphic part and the editorial design teams of the publishing company, it was not unusual that on some occasions, the chosen photographer was in charge, as Amparo and Teresa were, of the entire publication. Such was the case of the catalogs designed later by Begoña Santiago Mendizabal or Florencia Juanes Roldán, among others, who assumed, at the time, total control of the catalog. As we mentioned, it was mandatory that this first page of the collection also present its photographer or designer. Amparo saved the page in her trunk, but she did so without adding her name, photograph or profile. On the page she saved, she presents a top view of two models dressed in an outfit from the large collection along with her position in the commercial section and the title written by our friend for the photographic selection. Amparo and Teresa renounce any seasonal reference and under the name “Coleco” they will present the collection for the first spring. On the left of the double page there should be included a photograph of the artist or, at that time, artists, and on the back double page the biographical writing. From Amparo's notes, we know that the company's studios took photographs of our two friends, but Amparo only kept hers because Teresa decided to send her own to her family. As we have the entire set, we have included the page as Amparo deposited it in her trunk and included my authorship credits. Since the fictitious reconstruction is not among our objectives, I have placed Amparo's photo next to this text. A very classic photograph, almost in line with those taken by the old film studios of the stars of their films and which became a constant source of mocking comments from Teresa about the image and intention of the unknown photographer. Amparo seems to meekly submit to the company's requirements and she poses with the same Candelaria outfit that she wore in the anonymous photographs that we included above. She misses that the photographer had not worked herself on the conception of the affected portrait, technically perfect but implausible for our friend's artistic attitude. In any case, with her simple fashionable outfit, the artist seems to be trying to renounce her adopted lineage and preferred to present herself as just another artist who did not depend on the nobility of her surname or her military history to defend her artistic work although the scars on her neck testify to her combative past and that on this occasion, the photographer or, perhaps, she herself, have avoided makeup. Y esta doble pagina, cerrara la breve entrada de hoy. And this double page will close today's brief entry.
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Esta entrada servira para mostrar un par de nuevos modelos 3d que hice la semana pasada y presentar alguna de sus nuevas paginas. Google translator: This post will serve to show a couple of new 3D models that I made last week and present some of their new pages. Para representar la camara de gran formato utilizada por Amparo para realizar las fotos del catalogo de Candelaria realice este modelo, basado en un modelo actual pero, como es habitual, con numerosos detalles ficticios. No aparecera en muchas ilustraciones, pero queria que estuviera bastante detallada, el modelo, fabricado por Kolia sera el modelo B&H 83450. To represent the large format camera used by Amparo to take the photos for the Candelaria catalogue, I made this model, based on a current model but, as usual, with numerous fictitious details. It will not appear in many illustrations, but I wanted it to be quite detailed, the model, manufactured by Kolia, will be the B&H 83450 model. Esta es una de las paginas de la seccion dedicada a las maquinas fotograficas usadas por Amparo. This is one of the pages in the section dedicated to the photographic machines used by Amparo. Aqui esta una de las pocas ilustraciones con la Kolia y nuestras dos protagonistas durante una sesion preparatoria en exteriores. Here is one of the few illustrations with the Kolia and our two protagonists during a preparatory session outdoors. La Kolia S-3 sera la segunda maquina fotografica que hice para Carpa 1408. En este caso es un modelo panoramico inspirado en las "Ixus" pero en este caso, es un modelo totalmente ficticio. The Kolia S-3 will be the second photographic machine that I made for Carpa 1408. In this case it is a panoramic model inspired by the "Ixus" but in this case, it is a completely fictitious model. En la ilustracion Amparo aparece utilizando la S-3 duante una sesion de prueba para la coleccion de ropa interior de la diseñadora, en esta ocasion el texto que la acompaña es un simple cajetin de prueba. Tras realizar estos dos modelos, basicamente, he dedicado la semana a concluir la seccion dedicada a pequeños complementos y he empezado a trabajar en la dedicada a la coleccion de ropa interior. In the illustration Amparo appears using the S-3 during a test session for the designer's underwear collection, on this occasion the text that accompanies it is a simple test box. After making these two models, basically, I have dedicated the week to finishing the section dedicated to small accessories and I have started working on the one dedicated to the underwear collection. Esta es la pagina para abrir seccion. This is the page to open section. Y esta es la pagina de bienvenida, la seccion sera comentada por Dorita Ponte Balbin. Aun falta mucho por realizar en esta seccion, pero ya voy acabando algunas ilustraciones sobre los distintos elementos diseñados por Candelaria. And this is the welcome page, the section will be commented by Dorita Ponte Balbin. There is still a lot to do in this section, but I am already finishing some illustrations of the different elements designed by Candelaria. Esta es la ilustracion para la introduccion, como en el caso anterior, el texto es totalmente ficticio. This is the illustration for the introduction, as in the previous case, the text is completely fictitious. Esta sera la primera referencia de la coleccion interior fotografiada por Amparo. This will be the first reference of the interior collection photographed by Amparo. Poco a poco, he ido cerrando las paginas dedicadas a los pequeños complementos de la coleccion, bolsos de mano y similasres. Creo que ya habia subido algunas de ellas en una entrada anterior pero las que incluyo aqui, las acabe esta semana. Little by little, I have been closing the pages dedicated to the small accessories of the collection, handbags and similar items. I think I had already uploaded some of them in a previous entry but the ones I include here, I finished this week. Estas dos ilustraciones presentado el pequeño bolso de mano "Cala" cerraran la seccion. These two illustrations presenting the small "Cala" handbag will close the section. Para cerrar la seccion las redactoras todo el proceso seguido por Teresa y Amparo para realizar las sesiones para "Cala" y esta ilustracion servira para cerrar la entrada de hoy. To close the section, the editors describe the entire process followed by Teresa and Amparo to carry out the sessions for "Cala" and this illustration will serve to close today's entry.
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En la entrada anterior, inclui la imagen de la camara fotografica aerea que hice para Carpa 500. Abrire hoy la novena entrada con la primera version de la camara de Amparo. Un modelo 3d que realice hace algunos años y aunque he mejorado, le tengo mucho aprecio al mismo. Google translator: In the previous entry, I included the image of the aerial camera that I made for Carpa 500. I will open the ninth entry today with the first version of Amparo's camera. A 3D model that I made a few years ago and although I have improved, I really appreciate it. La camara la diseñe basandome en un sin fin de modelos reales, no utilice planos y con ella queria representar un modelo de medio formato ideal para el trabajo artistico de la protagonista. Aunque visualmente aparece en pocas viñetas quise que fuera lo mas detallada posible. En aquel tiempo comenzaba en el mundo del 3d y fue de los primeros que me dejaron contento, de ahi que le guarde tanto cariño. I designed the camera based on an endless number of real models, I did not use plans and with it I wanted to represent a medium format model ideal for the artistic work of the protagonist. Although visually she appears in just a few vignettes, I wanted it to be as detailed as possible. At that time she was starting out in the world of 3D and she was one of the first to make me happy, which is why I loved her so much. Con el tiempo, me di cuenta de los errores cometidos y realice una version mejorada de la misma. Con ella, represente una de las ediciones limitadas que "Kolia" realizo del modelo y la inclui en la revision de Carpa 1808. Mantuve las texturas para la camara de Amparo, el rojo y negro seguira siendo el protagonista. Over time, I realized the mistakes made and made an improved version of it. With it, I represented one of the limited editions that "Kolia" made of the model and included it in the review of Carpa 1808. I kept the textures for Amparo's camera, the red and black will continue to be the protagonist. Este es el modelo texturado de la serie limitada y utilice tintes planos, en su mayoria, para adecuarlo a la ilustracion que representaria una de sus campañas publicitarias. This is the textured model of the limited series and it used mostly flat tints to adapt it to the illustration that would represent one of its advertising campaigns. En la revision de Carpa 1808 represente uno de los catalogos de la firma con ilustraciones como esta para su lanzamiento en el gran certamen tecnologico. In the review of Carpa 1808 I represented one of the firm's catalogs with illustrations like this one for its launch at the great technological event. Este es el objetivo de 200mm que hice para mostrar el utilizado por Amparo, "Cachucho grande", segun sus propias palabras. Para hacerlo, me base en mi objetivo Canon de 200mm que me acompaña desde el principio de mi carrera como fotografo. This is the 200mm lens I made to show the one used by Amparo, "Big Cachucho", in his own words. To do so, I relied on my 200mm Canon lens that has been with me since the beginning of my career as a photographer. Aqui esta la maquina de Amparo y su objetivo largo, decorado por ella misma, tal y como aparecia en la revision de Carpa 1508. Here is Amparo's machine and its long objective, decorated by herself, as it appeared in the Carpa 1508 review. Esta es la version con tripode, "Tripoli", los llamaba Amparo. This is the version with tripod, "Tripoli", Amparo called them. Aunque todavia no los he utilizado, construi estos grandes teleobjetivos para su utilizacion por las unidades de reconocimiento fotografico y por la propia Amparo. para hacerlos, me base en diseños reales de la firma Leica de los años 30 y 40 y utilizados por el ejercito aleman en campaña. Although I have not used them yet, I built these large telephoto lenses for use by photographic reconnaissance units and by Amparo itself. To make them, I based them on real Leica designs from the 1930s and 1940s and used by the German army in campaign. Para las compañias de propagando hice esta filmadora portatil basada en alguinos modelos reales de los años 30, aqui aparece con librea militar, tambien hice una librea civil en rojo metalico. Este y el modelo siguiente los hice para adaptarlo a los "Cabezuelo", motores modernos, asignados a las compañias de "Sol y Justicia". For advertising companies I made this portable video camera based on some real models from the 1930s, here it appears in a military livery, I also made a civil livery in metallic red. I made this and the following model to adapt it to the "Cabezuelo", modern engines, assigned to the "Sol y Justicia" companies. Esta es la camara de rodaje cinematografico y, como la anterior, esta basada en modelo real. De momento, quiero representar para Carpa 1408 parte del material utilizado por Amparo para fotografiar el catalogo de Candelaria, pero reconozco que todavia no me he puesto a ello. This is the cinematographic filming camera and, like the previous one, it is based on a real model. At the moment, I want to represent for Carpa 1408 some of the material used by Amparo to photograph the Candelaria catalogue, but I admit that I have not yet gotten around to it. Para cerrar la primera parte de esta entrada, aqui esta Amparo y su "Kolia M". To close the first part of this entry, here is Amparo and his "Kolia M". Tras Carpa 1408 quiero comenzar con el numero 1308 que estara dedicado al grupo de combate "Alba negra" y , a ratos perdidos, voy revisando algun material militar que hice para numeros anteriores o mantuve en reserva y nunca he utilizado. La imagen superior uno de los vehiculos blindados anfibios utilizados para el cruce del gran rio y quiero utilizar en algunas ilustraciones. Como muchos de los vehiculos imperiales luce la estrella roja de Santa Teresa. After Tent 1408 I want to start with number 1308 which will be dedicated to the combat group "Alba negra" and, at odd moments, I am reviewing some military material that I made for previous issues or kept in reserve and have never used. The image above is one of the amphibious armored vehicles used for crossing the great river and I want to use it in some illustrations. Like many of the imperial vehicles, it sports the red star of Santa Teresa. Este lanza puentes basado en casco de Panzer IV fue el primer completo que realice hace muchos años. Aunque el modelado esta bien, cometi muchos errores que hacen imposible hacer las UV y solo lo pinte los materiales, lo inclui en algunas imagenes brumosas sobre la batalla de Amarillo. De el aproveche algunos elementos para realizar un lanza puentes, o mejor dicho, un puente anfibio para el ejercito imperial. This bridge launcher based on the Panzer IV hull was the first complete one I made many years ago. Although the modeling is good, I made many mistakes that made it impossible to do the UV and I only painted the materials, I included it in some hazy images about the battle of Amarillo. I took advantage of some elements to make a bridge launcher, or rather, an amphibious bridge for the imperial army. El vehiculo imperial, en lugar de lanzar el puente, el mismo se convierte en una pasarela sumergida para permitir el paso de los grandes rios occidentales. En este caso use un chasis basico que realice para toda la serie de blindados anfibios, aunque tome referencias de modelos reales, son ficticios en su mayoria. The imperial vehicle, instead of launching the bridge, becomes a submerged walkway to allow the passage of the great western rivers. In this case I used a basic chassis that I made for the entire series of amphibious armored vehicles, although I take references from real models, they are mostly fictitious. Este es el modelo barre minas sin texturar, ando pensando en cambiar su esquema mimetico. This is the untextured mine sweeper model, I'm thinking about changing its mimetic scheme. Aqui esta el vehiculo anfibio utilizado por las compañias sanitarias de Santa Teresa, le hice un esquema en gris azulado y blanco, pero posiblemente cambie su esquema. Here is the amphibious vehicle used by the Santa Teresa sanitation companies, I made a scheme in blue-gray and white, but I may change its scheme. Para cerrar la serie de los anfibios, este es el modelo de carro ligero que hice basandome en el T-70 ruso de la segunda guerra mundial. Aunque utilice planos para algunos elementos, es un vehiculo totalmente ficticio. To close the amphibian series, this is the light tank model that I made based on the Russian T-70 from World War II. Although it uses plans for some elements, it is a completely fictitious vehicle. Basandome en el diseño original del Sdkfz 3 de los años 20, diseñe el camion blindado con el que Taciana VI inspeccionara el frente junto a sus estrategas mayores. Based on the original design of the Sdkfz 3 from the 1920s, I designed the armored truck with which Taciana VI would inspect the front with her senior strategists. Para representar el vehiculo de mando de Amparo hacia el final de la campaña me base en el Sdkfz 247. Para mis ilustraciones, lo hice mucho mas grande y con un interior totalmente ficticio pero adecuado a mis intenciones. To represent Amparo's command vehicle towards the end of the campaign I based it on the Sdkfz 247. For my illustrations, I made it much larger and with a totally fictitious interior but appropriate to my intentions. Las dos imagenes muestran a Amparo y Condenacion embarcadas y una vista superior del interior del vehiculo con su aparato de radio y la mesa para los aparatos de cifra. The two images show Amparo and Condenacion boarded and a top view of the interior of the vehicle with its radio set and the table for the cipher devices. Para cerrar la entrada, subire algunas imagenes de los vehiculos diseñados para los ejercitos de Carmencita y que no inclui en la otra entrada. Para las unidades de reconocimiento, hice este vehiculo basado en el famoso "Dingo", aunque lo hice un poco mas grande de lo normal para adecuarlo a mis necesidades, utilice planos pero aumente la escalo y añadi o quite algunos detalles a mi conveniencia. To close the entry, I will upload some images of the vehicles designed for the Carmencita armies and that I did not include in the other entry. For the reconnaissance units, I made this vehicle based on the famous "Dingo", although I made it a little larger than normal to suit my needs, I used plans but increased the scale and added or removed some details at my convenience. Como segundo vehiculo de reconocimiento, hice este vehiculo de radio basandome en el "Humber" britanico, aunque me base en planos, muchos detalles son ficticios. El modelo lo use para realizar un pequeño blindado con torreta que se presenta en la imagen inferior. As a second reconnaissance vehicle, I made this radio vehicle based on the British "Humber", although I based it on plans, many details are fictitious. I used the model to make a small armored vehicle with a turret that is presented in the image below. La torreta la hice basandome en modelos historicos, pero poco tiene que ver con la realidad. Debe representar un vehiculo de reconocimiento armado. I made the turret based on historical models, but it has little to do with reality. It must represent an armed reconnaissance vehicle. Cierro la entrada con este gran semi oruga lanza cohetes, esta basado en varios vehiculos historicos, pero me deje llevar por la fantasia. Los tubos lanza raquetas, son los mismos que utilice en el ocho ruedas "Velasco". I close the entry with this large semi-tracked rocket launcher, it is based on several historical vehicles, but I let myself get carried away by the fantasy. The racket launcher tubes are the same ones used in the "Velasco" eight-wheeler.
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Desde la publicacion de los dos ultimos numeros de la revista he retomado el trabajo en Carpa 1408. El numero dedicado a presentar el trabajo de Amparo y Teresa para la diseñadora Candelaria Comas Beltran y su catalogo para la primera primavera tras la victoria quedo un tanto relegado por diversos motivos. Desde hace unos dias he vuelto al trabajo y aunque la edicion todavia esta en una primera fase he ido cerrando ya las primeras paginas de la misma. En su momento, ya publique en este blog algunas de las primeras imagenes, es cierto que borre la entrada correspondiente, pero como todavia no se que cambios realizare en el material mas antiguo prefiero subir las primeras paginas que doy por terminadas. Google translator: Since the publication of the last two issues of the magazine I have resumed work on Carpa 1408. The issue dedicated to presenting the work of Amparo and Teresa for the designer Candelaria Comas Beltran and her catalog for the first spring after the victory was somewhat relegated for various reasons. A few days ago I returned to work and although the edition is still in a first phase, I have already been closing the first pages of it. At the time, I already published some of the first images on this blog, it is true that I deleted the corresponding entry, but since I still don't know what changes I will make to the older material, I prefer to upload the first pages that I consider finished. Para cerrar, añado algunas de las ultimas ilustraciones que he hecho para la edicion. To close, I add some of the latest illustrations I have made for the edition.
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Note: Came across this at SmutBase thus thank the creator. Lack the current skills to edit the mesh and add textures but maybe someone here will utilize better than me Build-A-Bod by Neroticus Description: Build-A-Bod is an intermediate/advanced resource for creating bodies in Blender for head hacks, etc. Creator Notes: There are no head/face specific shape keys, this is for creating bodies only UV maps but no textures included Armature/skeleton is extremely basic Unzips to about 110MB .blend format thus need Blender 3D to open files BuildABod_Female_1_3.7z BuildABod_Male_1_3.7z
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Hello, I am attempting to make a female body mod using blender and the sims 4 studio. I wanted to graft on a new appendage to the female default nude bottom. I modeled the appendage in another program, exported it as an STL file and then imported it into blender. I then joined it to the main mesh using ctrl + J. When putting the mesh into the sims 4 mod constructor it looks fine but in-game in CAS the new appendage floats in mid air in front of the sim's body totally separate from the rest of the body. It's entirely black showing that it's not textured despite in the mod constructor and blender it seems to have turned the same color as the default skin tone. I don't know why this is happening. I've tried using boolean modifiers to merge it to the default bottom mesh but that just deletes a huge section of the nude female bottom, ruining the mesh. So joining the parts doesn't work and using boolean modifiers to form a "Union" or "intersection" doesn't work either. If anyone has any solution's I would really appreciate hearing them. I recall this sort of thing was happening with penises after a specific sims 4 update until mod makers repaired the problems. I mainly just want the two parts (the appendage and the default nude bottom) to work as one solid part together in tandem. And I hope to also get the new appendage to not be solid black. I'm not at all experienced with blender, I don't know how texturing works, and this is my first CC model so please go easy. (Image 1): What happens when I use boolean modifiers (Image 2): What happens when I join the parts (Image 3): What the part looks like in the mod constructor after I used the join command (Image 4): Result in game
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