Search the Community

Carpa 1388 descarga/ download Ya he subido al servidor el nuevo numero de Carpa, Carpa 1388. Al final dividire el monografico dedicado a "Nene" en dos partes. Esta segunda parte no se cuando aparecera pues primero quiero acabar el dedicado a Condenacion. Como siempre, la revista debe leerse a doble pagina con portada. I've already uploaded the new issue of Carpa, Carpa 1388, to the server. I'll be splitting the special feature on "Nene" into two parts. I'm not sure when the second part will be released, as I want to finish the one on Condenación first. As always, the magazine should be read as a double-page spread with the cover. Antes de la correspondiente galeria grafica, añadire los textos de prologos e introducciones. Before the corresponding graphic gallery, I will add the texts of prologues and introductions. En realidad, podría considerarse que esta introducción esta de mas en este volumen. Lo escrito en nuestro Carpa 1888, en aquellos días ultimo de la serie, mantiene su validez, pero nuestras lectoras ya han comprobado que no fue su cierre y, desde entonces, ha sido publicado Carpa 708, final definitivo de los 1800, aunque yo no estoy tan segura de la validez de nuestra afirmación. El trabajo artístico de doña Carmen es fuente inagotable para infinidad de tesis y trabajos artísticos y el estudio del material depositado en el baúl aun puede enfrentarse a una de las maravillosas sorpresas que la artista oculto entre su caótico desorden y desde el que reclama, una vez mas, nuestra atención. Como se comento en aquellas paginas, este será el primer monográfico dedicado a la figura de “Nene” fuera de los círculos mas académicos y dedicado a difundir, entre el gran publico, la fascinante obra fotográfica de la artista de camara de Carmencita y su depravada corte. Una artista seducida por la fuerza del mal y que viajo desde posturas eminentemente no poéticas y vanguardistas a entregarse sin tapujos a la mas perversa oscuridad que, como nunca, amenazo a este planeta tal y como presentamos en aquella corta sección final de “1888”. No teníamos muy claro, a la hora de realizarla, si nuestra petición para desarrollar este volumen seria atendida positivamente. Los tanteos entre nuestras lectoras habían sido muy favorables y solo la rigidez, mas que censura hablaríamos de ostracismo contra esa cultura de nuestras cuestoras de mandato, nos hicieron dudar, en un primer momento, de presentar nuestra petición. Sorprendentemente, la respuesta llego mas pronto de lo habitual y esta aceptaba nuestro proyecto sin correcciones e, incluso, añadía los comentarios favorables de la corona, el gobierno y nuestro parlamento. Por lo escrito en la respuesta, nuestras instituciones llevaban largo tiempo considerando la idea de rescatar del olvido las figuras del arte, pensamiento y ciencias del antiguo reino maldito y concederles, por fin, el reconocimiento merecido por su colaboración al desarrollo del planeta, había llegado el momento de borrar la oscuridad maldita de su agónico final y restablecer su importancia en el devenir de nuestra historia. Cuando se publique este numero de Carpa, muchas de las redacciones de los diversos mandatos, ya habrán editado y presentado publicaciones similares a esta y dedicadas a otras tantas figuras de la cultura de aquel reino. En un primer momento, antes de la franca autorización de nuestro mandato, diseñamos una edición basada, casi palabra por palabra, en el esquema de aquella publicación con vistas a reforzar nuestra petición y tener preparado un esquema funcional y aprobado ya por nuestras lectoras. Tras la respuesta afirmativa, convoque una reunión de toda la redacción en nuestra terraza para discutir la posibilidad de crear un nuevo proyecto para presentar la obra de “Nene” que evitara lo ya expuesto en ese Carpa anterior. El contenido del mismo seria transferido a los servidores adjuntos a este Carpa 1388 y con facilidad podría ser consultado por nuestras lectoras. Dejando aparte el hecho que mis redactoras suelen considerar estas reuniones como una fiesta: “La terraza era una fiesta” es el lema de todas ellas, la velada fue de lo mas fructífera y según proclamo Petia para cerrarla: “a partir de ese momento rodaremos en color y será preciso construir un maravilloso escenario musical”, todo eso antes de unirse a Sagrario para interpretar una ebria versión de: “Volveré de entre la muerta esperanza” de Vilma Guas. De esa reunión surgió este numero de Carpa eminentemente visual y orientado a presentar la obra de la fotógrafa desde un punto de vista rigurosamente academico y objetivo y evitar, en todo momento, los juicios morales sobre su persona y concentrarnos en esa poderosa obra artística y no poética que influyo decisivamente en las artistas surgidas tras el fin de la guerra y de la opresión aristocrática. De ese numero anterior solo hemos incluido las pausas publicitarias que, como en aquella ocasión, correrá la selección a cargo de Petia y aunque mantendremos un recorrido biográfico desde sus primeros pasos hasta su muerte durante los combates por el puente de las pescadoras, intentaremos mantener un enfoque totalmente nuevo para esta monografía. En aquel numero fue inevitable anotar o comparar las similitudes de su obra con las de doña Carmen, pero ahora, fuera ya de la serie 1800, evitaremos estas comparaciones y nos centraremos solo en “Nene” y su mundo. Nuestras lectoras ya conocerán la incorporación de forma oficial a esta redacción de Tini A6RN y Basilia Villalobos y como negociamos en la actualidad la llegada de Luisa, la que produce felicidad, a esta redacción también de forma definitiva. Tini y Basilia han sido las encargadas de seleccionar las fotografías realizadas para los talleres de costura y comentar dichas campañas y fotografías. Luisa, por su parte y a través de los archivos de la real casa, ha sido imprescindible para identificar a las protagonistas de esas imágenes y desentrañar, para todas nosotras y nuestras lectoras, los entresijos de la aristocracia gobernante durante la vida de “Nene” y las extrañas costumbres imperantes en su rígida sociedad de clases. Por lo demas, el resto de la redacción se ha centrado en el estudio de todo el material depositado por las tres ayas en nuestros mandatos y, como siempre, Paquita y Dorita asumen el diseño de este nuevo volumen de Carpa. Debo reconocer que ha sido, este proceso de edición, una actividad de lo mas gratificante. Por una parte presentaremos la obra de una gran artista, que a pesar de todo el mal causado por sus semejantes, no merece ese olvido y por la otra, ha avanzado la comprensión por esta redacción de esa sociedad, la mas culta y avanzada del planeta en esa época y que fue capaz de cometer toda suerte de atrocidades en lapso de tiempo realmente breve para nuestra cronología. Desde su caída, infinidad de estudios han intentado comprender las causas y motivos de esa transformación global. Lo que estos análisis no han conseguido desentrañar a lo largo de todos estos años no es el objetivo de esta publicación, pero si que lo es avanzar en el análisis de una sociedad capaz de generar artistas como la protagonista de nuestro volumen monográfico. Debo cerrar ya esta breve introducción, ha llegado mi momento de brillar y asombrar a toda la redacción y a mi Consuelo, en particular, con mi interpretación de: “Fingiré que soy tu esclava” de la sin par Roció Peña para dar la bienvenida a las nuevas redactoras y este ultimo numero de Carpa. Google translator: In reality, this introduction could be considered superfluous in this volume. What was written in our Carpa 1888, in those final days of the series, remains valid, but our readers have already verified that it was not its conclusion, and since then, Carpa 708, the definitive end of the 1800s, has been published, although I am not so sure of the validity of our assertion. Doña Carmen's artistic work is an inexhaustible source for countless theses and artistic works, and the study of the material deposited in the trunk may still uncover one of the marvelous surprises that the artist concealed within her chaotic disarray, from which she once again demands our attention. As mentioned in those pages, this will be the first monograph dedicated to the figure of "Nene" outside of the most academic circles, and dedicated to disseminating, among the general public, the fascinating photographic work of the photographer of Carmencita and her depraved court. An artist seduced by the force of evil, who journeyed from decidedly non-poetic and avant-garde positions to surrender herself without reservation to the most perverse darkness, which, as never before, threatened this planet, as we presented in that short final section of “1888.” When we submitted it, we weren't entirely sure if our request to develop this volume would be granted. Feedback from our readers had been very positive, and only the rigidity—more like ostracism than censorship—of our governing bodies against this culture made us hesitate, at first, to submit our request. Surprisingly, the response arrived sooner than usual, accepting our project without revisions and even including favorable comments from the Crown, the government, and our parliament. As stated in the response, our institutions had long considered rescuing from oblivion the figures of art, thought, and science of the ancient, cursed kingdom and finally granting them the recognition they deserved for their contribution to the development of the planet. The time had come to erase the cursed darkness of their agonizing end and restore their importance in the course of our history. By the time this issue of Carpa is published, many of the editorial teams from the various administrations will have already edited and presented similar publications dedicated to other cultural figures from that kingdom. Initially, before receiving the explicit authorization from our administration, we designed an edition based almost word for word on the structure of that publication, with the aim of strengthening our request and having a functional format already approved by our readers. After the affirmative response, I convened a meeting of the entire editorial team on our terrace to discuss the possibility of creating a new project to present the work of "Nene" that would avoid what had already been presented in that previous Carpa. The content would be transferred to the servers attached to this Carpa 1388 and could easily be accessed by our readers. Leaving aside the fact that my editors usually consider these meetings a party—"The terrace was a party" is their motto—the evening was extremely productive, and as Petia proclaimed to close it: "From this moment on, we'll be filming in color, and it will be necessary to build a wonderful musical set," all this before joining Sagrario to perform a drunken version of "Volveré de entre la muerta esperanza" by Vilma Guas. From that meeting emerged this issue of Carpa, eminently visual and geared towards presenting the photographer's work from a rigorously academic and objective point of view, avoiding at all times moral judgments about her and concentrating on that powerful artistic—not poetic—work that decisively influenced the artists who emerged after the end of the war and aristocratic oppression. From the previous issue, we have only included the advertising breaks, the selection of which, as on that occasion, will be handled by Petia. Although we will maintain a biographical overview from her early days to her death during the fighting for the Fisherwomen's Bridge, we will attempt to maintain a completely new approach for this monograph. In that previous issue, it was inevitable to note or compare the similarities between her work and that of Doña Carmen, but now, outside the 1800 series, we will avoid these comparisons and focus solely on "Nene" and her world. Our readers will already know about the official addition of Tini A6RN and Basilia Villalobos to this editorial team, and how we are currently negotiating the arrival of Luisa, the one who brings joy, to this team permanently as well. Tini and Basilia have been in charge of selecting the photographs taken for the sewing workshops and commenting on these campaigns and photographs. Luisa, for her part, and through the archives of the royal household, has been essential in identifying the protagonists of these images and unraveling, for all of us and our readers, the intricacies of the ruling aristocracy during "Nene's" lifetime and the strange customs prevalent in its rigid class society. For the rest of the editorial team, we have focused on studying all the material deposited by the three governesses during our terms, and, as always, Paquita and Dorita are handling the design of this new volume of Carpa. I must admit that this editing process has been a most rewarding experience. On the one hand, we will present the work of a great artist who, despite all the harm inflicted by her fellow human beings, does not deserve to be forgotten. On the other hand, this editorial team has advanced its understanding of that society—the most cultured and advanced on the planet at that time—which was capable of committing all sorts of atrocities in a remarkably short period of time in our chronological order. Since its fall, countless studies have attempted to understand the causes and motives of that global transformation. What these analyses have failed to unravel over all these years is not the objective of this publication, but rather to further the analysis of a society capable of producing artists like the protagonist of our special issue. I must now conclude this brief introduction; my moment has arrived to shine and amaze the entire editorial team, and my Consuelo in particular, with my interpretation of "I Will Pretend I Am Your Slave" by the incomparable Rocío Peña, to welcome the new editors and this latest issue of Carpa. Galeria/ gallery

Another summer photo session! Hope you enjoy it. Not much to say about this one. I've only used one character and took a few shots (as the tittle says, it's a lite version). For the background and poses I use Aether Suite, Aibellia Island and Halo Poser mods. The model wears a blue bikini from Daz Bikini Collection 2. Please go and support the original authors of these great mods, they totally deserve it!

En un principio, pensaba dedicar esta semana pasada a revisar los textos para la primera seccion de Carpa y, aunque ya he concluido con las introducciones y prologos, he preferido acabar algunos modelos 3d pendientes y preparar algunas ilustraciones mas y algunas paginas para dividir las secciones. Google translator: I was originally planning to spend this past week revising the texts for the first section of Carpa, and although I've already finished the introductions and prologues, I've decided to finish some pending 3D models and prepare some more illustrations and some pages to divide the sections. Esta sera la pagina que abrira la segunda seccion del volumen. En el se narrara el viaje de la unidad de Amparo rumbo a su despliegue y correra a cargo de Adoracion. This will be the opening page of the second section of the volume. It will narrate the journey of Amparo's unit towards its deployment and will be written by Adoracion. Esta sera la doble pagina que presentara la subseccion dedicada a las compañias de infanteria y la seccion de armas de apoyo. This will be the double page that presents the subsection dedicated to infantry companies and the support weapons section. Como comentaba al principio, he aprovechado estos dias para acabar modelos 3d pendientes, aqui esta el lanzapuente sobre casco de Valentine. Para hacerlo me he basado en planos, pero aunque es bastante fiel al original, muchos de sus elementos son ficticios. En un principio no iba a realizar ningun modelo mas, pero me di cuenta que el vehiculo, con su pasarela recogida, no me iba a servir de mucho y prepare otro modelo en el momento de desplegar la pasarela. As I mentioned at the beginning, I have taken advantage of these days to finish pending 3D models, here is the Valentine's hull bridge launcher. To do it I have based myself on plans, but although it is quite faithful to the original, many of its elements are fictitious. At first I was not going to make any more models, but I realized that the vehicle, with its walkway retracted, was not going to be of much use to me and I prepared another model at the time of deploying the walkway. Aqui esta el modelo que comentaba y abajo presento la ilustracion en la que aparece apoyando a las zapadoras durante los combates por la puerta principal del sagrario. Here is the model I was talking about and below I present the illustration in which it appears supporting the sappers during the fighting for the main door of the sanctuary. La ilustracion muestra como el blindado despliega la pasarela para que las zapadoras puedan franquear el primer foso anticarro cosa que consiguieron tras sufrir un gran numero de bajas. The illustration shows how the armored vehicle deploys the walkway so that the sappers can cross the first anti-tank ditch, which they managed to do after suffering a large number of casualties. El tercer modelo de la semana fue la version del Valentine como barre minas y aunque tengo diseñada su ilustracion, todavia no me he puesto a ello. Aun podia hacer un par de versiones mas de este tipo de vehiculos, pero, de momento, prefiero dejarlo ahi. The third model of the week was the minesweeper version of the Valentine and although I have designed its illustration, I have not yet gotten around to it. I could still make a couple more versions of this type of vehicle, but for now, I prefer to leave it there. Para la seccion de armas de apoyo, diseñe este mortero de 81 mm, es un modelo totalmente ficticio y ayer mismo, acabe una de las posibles ilustraciones en las que aparecera. For the support weapons section, I designed this 81mm mortar, it is a completely fictional model and just yesterday, I finished one of the possible illustrations in which it will appear. Aqui esta el mortero y su dotacion en el momento de abrir fuego sobre las primeras posiciones enemigas. Here is the mortar and its crew at the moment of opening fire on the first enemy positions. Esta es la ilustracion que acompañara el texto dedicado a la unidad anti carro del grupo de combate que con el tiempo se vera sustituida por unidades y vehiculos sobre oruga. A la unidad de Ampàro se le asignaran piezas capturadas al enemigo sobre orugas y armadas con cañon de 88mm. This is the illustration that will accompany the text dedicated to the anti-tank unit of the combat group that will eventually be replaced by tracked units and vehicles. Ampàro's unit will be assigned pieces captured from the enemy on tracks and armed with 88mm cannon. Esta es la ilustracion que presenta el futuro material anticarro. This is the illustration that presents the future anti-tank material. En un principio queria incluir la representacion de un antiguo oleo sobre tabla que presentara la figura de Santa Eugenia y aunque he realido estas dos tomas del mismo modelo, no creo que la incluya. La historia de la santa podria dar mucho juego, pero quizas la reserve para un futuro numero. I originally wanted to include a representation of an old oil painting on wood depicting the figure of Saint Eugenia, and although I have made these two shots of the same model, I don't think I will include it. The history of the saint could be very interesting, but I may reserve it for a future issue. Poco a poco voy perfilando el aspecto definitivo del Sagrario de santa Brigida y he ido realizando ya algunas viñetas ddonde el mistico recinto es el protagonista absoluto. Little by little I am outlining the final appearance of the Tabernacle of Saint Brigid and I have already been making some vignettes where the mystical enclosure is the absolute protagonist. Para acabar, subire las ilustraciones realizadas para los equipos de ametralladoras medias. Para la ametralladora diseñe un tripode en posicion de transporte y desplegado. Todavia no tengo ninguna ilustracion para mostrar pero si que he realizado varias ilustraciones protagonizadas por estos equipos de anetralladoras medias. En esta imagen, un de estos equipos aguarda la orden de marcha para alcanzar las posiciones de partida desde las que iniciar el asalto. Finally, I will upload the illustrations made for the medium machine gun teams. For the machine gun I designed a tripod in transport and deployed position. I don't have any illustrations to show yet but I have made several illustrations featuring these medium machine gun teams. In this image, one of these teams awaits the marching order to reach the starting positions from which to begin the assault. Estas dos ilustraciones muestran al mismo equipo durante los combates por las poblaciones satelites y el tripode en posicion asoma tras la espalda de la primera cargadora. These two illustrations show the same team during the fighting for the satellite towns and the tripod in position peeks out from behind the back of the first loader. Y para cerrar, aqui estan las tres compañeras tras ser relevadas de primera linea tras la caida del recinto ferial de la ultima de las poblaciones. And to close, here are the three companions after being relieved from the front line following the fall of the fairground in the last of the towns.

Desde la ultima entrada, he cerrado practicamente la edicion y estoy trabajando en los ultimos textos e ilustraciones. Supongo que pasaran una o dos semanas hasta su publicacion, pero esta, no tardara mucho. Como enl a entrada anterior, traducire algunos de los textos de las paginas de forma automatica al ingles. Google translator: Since the last entry, I have practically closed the edition and I am working on the last texts and illustrations. I suppose it will take a week or two until its publication, but this one won't take long. As in the previous entry, I will translate some of the text on the pages automatically into English. Basicamente, he trabajado en la ultima parte de la coleccion de Candelaria y en el cierre de la edicion. Basically, I have worked on the last part of the Candelaria collection and on the closing of the edition. The first of the references that Amparo saved in “hivo” is by no means complete. The page is archived with its position and non-poetic assignment and the image that accompanies this text. Clearly we did not find a sketch for the main photograph that would be included in the catalog or, perhaps, the image that should appear in the commercial section because, as our readers will appreciate, its conception and aesthetics differ from the rest of the large collection. It should be noted that this set, full of youthful rebellion and daring, seems closer to popular collections than to the work of the haute couture workshop and, curiously, would not appear in the catalog published after the war. It is logical to assume that Candelaria sought to attract the daughters of her buyers and, as we have already commented at the time, to gain their loyalty from her early youth. The commercial policy was a complete success and we can highlight how some families became clients of the Candelaria workshops for several generations. Years later, it was decided to launch special collections that could only be purchased by those clients who had been loyal to their brand for more than two generations. The non-inclusion of this specific model, in the first edition, after the conflict, could be due to the desire of our population to take refuge in the traditional values of our culture after the war tragedy produced by the invasion. A very brief stage but as we wrote in the first pages of this Carpa, Candelaria accepted and during that time she preferred to accompany his clients and contain her avant-garde fury that would return with much more intensity a few years later. Personally, I think that this model and its aesthetic variable with respect to the collection must have filled our Amparo with doubts about how to approach her photography. It is true that in the archived material of this set there is a return to the techniques used in previous sections and although she manages to create a highly effective page and images, she must not have been very satisfied with the result. The photographs do not include any type of annotation and possibly, Amparo, delivered a good work, perhaps a little below the rest and decided not to archive it. In any case, as we will see below, this would not be the only reference to that futures market that Candelaria sometimes mentioned. “Parlaga” will serve our friend as a starting point to understand the designer's intentions and satisfy them. We must never forget the little time that the two artists had to create the catalog and that despite having studied the material for several months, we have seen how the artistic impulse of the photographer could reject and redo everything planned for weeks with a single look. Since the model was removed from the final catalog and the production line, I have asked Dorita to reconstruct Amparo's photograph by extracting it from her layout. Our readers will be able to delight in the exquisite work of the Candelaria cutters when working the bocara skin for the model's pants, belt, and the embossed turned leather for her top piece. The elegance and simplicity of the proposal should not make us forget that, for example, the simple golden choker or her heart bracelet was equivalent to two years' salary of an ordinary citizen. Few young people in our empire could wear Candelaria's designs, the final market she intended to reach from the beginning. “Conga” was a reference intended for the same audience as the previous model and, unlike this one, it was included in the later catalog. Amparo seems to concentrate in a special way on it, the complete set is not archived, we do not know if due to some type of external incident or similar, but it was included along with the graphic work a good handful of notes and he even added some photographs from the previous work in the studio with the daring clothing. In any case, the most striking thing lies in the locations selected for her photographs. With the war still raging, Amparo decides to hold the sessions in the ruins caused by enemy air attacks in the industrial zone of Agua Hechicera. A decision, which we have no doubt, must have generated a lot of controversy but which Amparo, clearly, managed to impose with his brilliant handling of the black and white film as he explains in one of his notes. The message of the photograph may seem at first glance simple and emphatically effective, a factual way of attracting attention and generating controversy with the presence of a young girl, dressed in a very expensive example from the Candelaria haute couture workshops, while it has not yet been They have put out the last fires and all those who fall after the victory are mourned, our readers must keep in mind the moment in which the photographs were taken and the scheduled date for the publication of the catalog. I do not believe, at all, that this was Amparo's intention. On the contrary, a message of hope invades us when we contemplate that static figure that seems to have stopped, for a moment, impressed by the destruction that surrounds her after her return home. Getting rid of the uniform and giving up the flags is not enough. The war may have ended, it is true that with our victory, but the hardest work comes with the moment of reconstruction and reconciliation. Amparo does not comment on this message at any time, but the care with which he prepares the section and the selection of film and lighting indicate the importance he gave to this series of photographs. The image that accompanies this text was taken during the preparation of these photographs. Before moving his entire team to the old industrial zone of the capital, mercilessly bombed at the beginning of the war, she tested various lighting sources and black and white negative film until she found the right one for his needs. . In this case we see how the model standing on a white cube listens attentively to the out-of-shot instructions of, surely, Teresa, while Amparo photographs the moment. The session seems to be a development of what began in the nebulous photographs of “mine”. It once again places the elegance of Candelaria under the fog and in a disconcerting landscape that will allow us to begin, once again, the game of imagining, of reflecting that has led the model to visit the ruins of the large industrial buildings and what is hidden. after his frivolous gesture. It is known that Candelaria had become the queen of fashion design for non-aristocratic youth long before developing her haute couture collection to reach the upper classes of the empire. As we have seen, she designs a collection within the largest one intended for the daughters of this aristocracy and her desire to make them her clients from her early youth. There is no doubt that Amparo interprets Candelaria's wishes by placing her model facing the tragedy of war. Young people like Amparo and her preschoolers were the ones who offered their lives to save our culture and they themselves will be in charge of the hard task of its reconstruction. With few exceptions, the role of our aristocracy at the beginning of the war cannot be classified as heroic or exemplary; many academics classify their behavior, simply and simply, as treason. Amparo knows all this firsthand, she has seen things that no one should see, but she prefers to forget it, and illustrate a hopeful message valid for any of the citizens who, like her, wore the black uniform of our rifles and will be the first readers of that catalogue. In his notes, Amparo talks about some of the photographs taken and which, as we mentioned, do not appear in his archive. The two that have reached us were made to be adapted to the layout once the session had taken place. Her name and position in the commercial section are placed in a gray box to the right of the double page allowing the inclusion of any of the photographs taken. Amparo seems to favor the one that accompanies this text as the main one and the one that she included in the sketch that opens the section as a simple work guide. Therefore, he notes, as a conclusion, that the atmosphere created by the black and white film should not be interrupted by any element foreign to it and, for this reason, he places texts outside the image and the one on this double page should be arranged “in full blood.” ”, an expression that indicated that no type of margin was left during printing. Estas dos paginas y las dos siguientes presentan los diseños que estoy trabajando en la actualidad junto con el de cierre. En ninguno de ellos he integrado los textos. These two pages and the next two present the designs I am currently working on along with the closing one. In none of them have I integrated the texts. Esta sera la pagina de cierre y el ultimo diseño de Candelaria, fotografiado por Amparo, para cerrar la edicion, el texto no esta acabado. Tengo dudas sobre si incluir un anexo, en estos dias ando con la escritura pero por si fuera necesario he diseñado la correspondiente doble pagina. This will be the closing page and the last design of Candelaria, photographed by Amparo, to close the edition, the text is not finished. I have doubts about whether to include an annex, these days I am writing but in case it is necessary I have designed the corresponding double page.

1. Skyrim bodyparts: head, body, hads, feets. 2. Skyrim sceleton 3. DAZ Gen 8 - bodyweight 0 - no sliders - base skinning Exemle on non standart animation https://drive.google.com/file/d/1M8fNOAzrlDd5XS9INeL_Z8Gu4o-n0odw/view

So... thanks to Nina28209 from nexusmods.com i solve problem with hands on DAZ body. My prefer thing (in meaning of in game body) is still CBBE SE from Ousnius. Why then DAZ body? Personally for my - technical training. And a lot of people ask my about this port for Skyrim. And now i can start this project again and finish it. On this video you can see first "dirt" ingame test. Without any ajustments. Just as is from DAZ to Skyrim. I make it only for demonstration. https://drive.google.com/file/d/15nMZCsDIpvQU2QwfFCXejXAIsqV61I-3/view Whats planned: 1. Genesis 8 Female body 2. This Body morphs packhttps://www.daz3d.com/genesis-8-female-body-morphs 3. XP32 Maximum Skeleton Special Extended 4. 90% DAZ textures uv support 5. Skyrim body partition type (head, hands, feet, body) 6. CBP Physics support 7. Body sliders for BS and RM 8. Vanilla neck seam (support for COtR and vanilla head models) On release mod will have official status (with interactive licenses) and will be free for all as COtR If you whant you can support my work on Patreon. All progres you can see there and here in my LL blog. I will be very appreciate for this (because of cost of interactive licenses and other resources).