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Iona, "Muse" - Graphic Novel Style Pictorial
Diluted posted a blog entry in Inside the Dovahkiin's Secret Studio
Most of my blog posts so far have been purely graphical in nature without any descriptive text. I think it's time to give a bit of context by sharing some of the influences behind my pictures. Butterscotch is the name of an adult series I remember from the late 90s. The title character had been made invisible during some kind of experiment; although nobody could see him there was the scent of butterscotch in his presence. There were "sex scenes" but these were almost entirely individual performances by actresses simulating the deed with an invisible figure. Skyrim is set in a world where invisibility potions and magic are readily accessible; one thing to remember with these pics is the possibility of an unseen partner... Click, click... "And I'm spent" Austin Powers may not seem like an obvious influence for a serious game like Skyrim, but the similarities are there. Sometimes in the movies you will see him just finishing a photo shoot with his entourage of ladies; I found myself wondering what the snaps on that camera would look like. There's another vital factor Austin Powers shares with the Dragonborn; in Austin's world it's known as "Mojo". An aura of irresistibility. In the Dragonborn or player's experience it's more accurately described as "code magic", but with the right mods you can recruit almost any NPC you meet in Skyrim to be your model. Virtual Valerie 2 is an antique piece of software by today's standards, but I remember it more for the general experience and what it was trying to achieve. You'd build up points by interacting with Valerie's different erogenous zones, and she'd go through poses and phases of excitement. Manually changing expressions and poses of the model is more of a DIY approach. -
Lydia, Combat Training - Graphic Novel Style Pictorial
Diluted posted a blog entry in Inside the Dovahkiin's Secret Studio
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Esta semana la he dedicado, practicamente, a bocetar ilustraciones para este numero y solo he realizado algun modelo 3d. En primer lugar conclui el "Faun" ficticio que presente en la entrada anterior, pero, de momento, solo he hecho una version basica. Mas adelante puede que haga alguna mas, de momento, esta bien asi. Google translator: This week I have practically dedicated to sketching illustrations for this issue and I have only made a few 3D models. First of all, I finished the fictional "Faun" that I presented in the previous entry, but, for now, I have only made a basic version. Later I may do some more, for now, it's fine that way. El modelo sigue, mas o menos, el modelo historico aunque como siempre, he realizado una version un tanto ficticia. En este render de prueba, añadi un Panzer I para comprobar medidas y demas. Tengo el remolque en proceso, pero, quizas, hasta la semana que viene no me pondre con el. The model follows, more or less, the historical model, although as always, I have made a somewhat fictitious version. In this test render, I added a Panzer I to check measurements and such. I have the trailer in progress, but, perhaps, I won't get around to it until next week. A mitad de la semana, decidi realizar esta version del camion Herrera de 3 toneladas como Katyusa, era una transformacion muy sencilla pues la mayoria de las piezas ya las tenia en mis archivos y solo he tenido que cortar y adaptar y tan hacer unas pocas piezas nuevas. In the middle of the week, I decided to make this version of the 3-ton Herrera truck like Katyusa, it was a very simple transformation because I already had most of the parts in my files and I only had to cut and adapt and make a few pieces new. El fin de semana lo dedique, entre otras cosas, a realizar esta version del IG-18 de 75mm para los ejercitos de Carmencita, es un modelo muy sencillo pues siempre debe aparecer con muchas figuras y asi me ahorrare algunos problemas de rendimiento. I dedicated the weekend, among other things, to making this 75mm version of the IG-18 for the Carmencita armies. It is a very simple model as it should always appear with many figures and this way I will save myself some performance problems. Como he comentado al inicio del post, he dedicado la semana a bocetar ilustraciones para la revista. Algunas las doy por acabadas y otras necesitan algunas mejoras o revisiones, pero nada mejor que empezar este repaso que con la ultima de ellas. Aqui estan el cañon y las figuras de la imagen anterior en un paisaje generado por un Addon de Blender quer permite incluir vegetacion y demas sin provocar muchos problemas de rendimiento. En la escena utilize dos tipos de plantas y un arbol sin perjudicar al resto del ordenador. As I mentioned at the beginning of the post, I have dedicated the week to sketching illustrations for the magazine. I consider some finished and others need some improvements or revisions, but there is nothing better than starting this review with the last one. Here are the cannon and the figures in the previous image in a landscape generated by a Blender Addon that allows you to include vegetation and so on without causing many performance problems. In the scene I used two types of plants and a tree without harming the rest of the computer. La semana la he empezado con algunas ilustraciones del STG IV bajo fuego de artilleria. Blender me permite desarrollar humo y explosiones para luego renderizar la animacion pero dadas las carencias de mi ordenador, he preferido utilizar calcas y realizar numerosos bocetos. Todas estas ilustraciones las realizo para mostrar los combates por el Sagrario de Santa Brigida. I started the week with some illustrations of the STG IV under artillery fire. Blender allows me to develop smoke and explosions and then render the animation, but given the shortcomings of my computer, I preferred to use decals and make numerous sketches. I made all these illustrations to show the fighting for the Sanctuary of Saint Brigida. Este es uno de los bocetos en blanco y negro. This is one of the black and white sketches. Esta es la ultima que hice antes de ponerme con una serie muy similar utilizando el panzer IV que hice algun tiempo. Esta semanas espero poder dedicarme a trabajar con el resto de vehiculos que participan en dicha batalla. This is the last one I did before starting a very similar series using the panzer IV that I did some time ago. This week I hope to be able to dedicate myself to working with the rest of the vehicles participating in said battle. Esta es la serie, una breve muestra, de la serie del PIV. This is the series, a brief sample, of the PIV series. Espero poder mostrar la semana que viene trabajos mucho mas avanzado, pero nunca se sabe. I hope to be able to show much more advanced work next week, but you never know.
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Toda esta semana he trabajado en las diferentes versiones que utilizara el grupo de combate de Amparo. A la vez, he completado las paginas con siluetas negras y bocetadas las ilustraciones complementarias. Resumiendo, otra semana de lo mas divertida. Hoy es fiesta en mi pueblo, santo patron, asi que me he animado a realizar esta entrada. Google translator: All this week I have been working on the different versions that the Amparo combat group will use. At the same time, I have completed the pages with black silhouettes and sketched the complementary illustrations. In short, another very fun week. Today is a holiday in my town, patron saint, so I decided to make this entry. Esta es la version del camion Herrera como ambulancia, es un diseño propio y totalmente ficticio pues el camion original nunca fue usado como tal. This is the version of the Herrera truck as an ambulance, it is its own design and totally fictitious since the original truck was never used as such. Version de transporte sin toldo. Transport version without awning. Version de transporte con toldo. Transport version with awning. Version cuba para el transporte de combustible o agua potable. Tank version for transporting fuel or drinking water. La version como vehiculo de mando ha sido la ultima que he hecho, otras versiones que habia pensado las hare en el momento que las necesite. The version as a command vehicle has been the last one I have made, other versions that I had thought about I will make when I need them. El sabado por la tarde comence a trabajar en un camion Herrera de 9 toneladas. Estoy usando las piezas construidas para el modelo de 3 toneladas adaptandolas y transformandolas. Me inspiro en los grandes camiones Faun utilizados por el ejercito aleman en la segunda guerra mundial. Piezas nuevas no tendre que hacer muchas, la semana que viene creo que tendre el modelo realizado y las primeras versiones. On Saturday afternoon I started working on a 9-ton Herrera truck. I am using the parts built for the 3 ton model adapting and transforming them. I was inspired by the large Faun trucks used by the German army in World War II. I won't have to make many new pieces, next week I think I will have the model made and the first versions. Esta es la pagina que abrira la seccion dedicada a la historia del grupo. Este numero se centrara, basicamente en la historia y organizacion del grupo y su primera mision durante el asalto al sagrario de Santa Brigida y las operaciones posteriores. This is the page that will open the section dedicated to the history of the group. This issue will basically focus on the history and organization of the group and its first mission during the assault on the Sanctuary of Saint Brigida and the subsequent operations. Estos dias he trabajado en las estatatuas que coronan la gran explanada del sagrario. Estas figuras fundidas en oro y tachonadas de piedras preciosas encierran en su interior los cuerpos momificados de miles de cautivas capturadas durante las guerras del Crisantemo y que supusieron la perdida de las fronteras orientales y llevaron los limites de nuestro imperio a la marca de las 12 tumbas. Nada mas capturar el recinto, las esculturas fueron derribadas, extraidos los cuerpos para ser enterrados y purificados y el sagrario fue arrasado hasta los cimientos por las compañias de liquidadoras, Las defensoras del recinto fueron ejecutadas sin piedad. Por lo tanto, las fotografias realizadas por Amparo son las ultimas tomadas antes de su desaparicion y supusieron todo un acontecimiento para las redactoras de Carpa, especialistas en fotografia antigua como todos sabemos. These days I have worked on the statues that crown the great esplanade of the tabernacle. These figures cast in gold and studded with precious stones contain inside the mummified bodies of thousands of captives captured during the Chrysanthemum Wars, which marked the loss of the eastern borders and brought the limits of our empire to the mark of the 12 tombs. . As soon as the enclosure was captured, the sculptures were demolished, the bodies were extracted to be buried and purified, and the tabernacle was razed to the ground by the liquidation companies. The defenders of the enclosure were executed without mercy. Therefore, the photographs taken by Amparo are the last ones taken before her disappearance and were quite an event for the editors of Carpa, specialists in old photography as we all know. Estas son las ilustraciones que he preseleccionado todavia no he escogido la definitiva. These are the illustrations that I have preselected, I have not yet chosen the final one. Por si lo necesitara, he realizado un par de bocetos del interior del recinto religioso. In case you need it, I have made a couple of sketches of the interior of the religious site. Amparo y Condenacion en la motocicleta utilizada por nuestra protagonista durante las ultimas fases de la guerra para el reconocimiento avanzado. La ilustracion como la siguiente debera ir intercalada entre las paginas de la organizacion del grupo y sus siluetas negras. Protection and Condemnation on the motorcycle used by our protagonist during the last phases of the war for advanced reconnaissance. The illustration like the following should be interspersed between the pages of the group organization and its black silhouettes. Para cerrar esta entrada subo algunas ilustraciones que he ido bocetando este fin de semana. To close this entry I upload some illustrations that I have been sketching this weekend.
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Esta semana, la he dedicado, principalmente, a trabajar en algunos modelos nuevos para Carpa 1308. En realidad, uno de ellos es un desarrollo o transformacion del Horch que ya presente en este blog y era el modelo que me faltaba para tener toda la serie completa. El modelo para transporte sanitario seria el utilizado por la doctora asignada al grupo de combate. Para este modelo construi tambien un pequeño remolque. Google translator: This week, I have dedicated it mainly to working on some new models for Carpa 1308. In reality, one of them is a development or transformation of the Horch that is already present on this blog and was the model that I was missing to have the entire series. complete. The model for medical transport would be the one used by the doctor assigned to the combat group. For this model I also built a small trailer. Aqui esta el modelo y el remolque finalizados, la transformacion fue muy sencilla y he procurado realizar un modelo ajustado a la realidad pero adaptandolo a mis necesidades. Here is the finalized model and trailer, the transformation was very simple and I have tried to make a model adjusted to reality but adapting it to my needs. Esta es la ilustracion donde aparece el modelo, esta imagen la doy por acabada e, incluso, la inclui ya en la maquetacion de la revista. This is the illustration where the model appears, I consider this image finished and I even included it in the layout of the magazine. Desde hace tiempo tenia pensado renovar el modelo del camion Herrera de 3toneladas y esta semana he concluido la version que servira como base para toda la serie de modelos que necesito hacer. Para construir este modelo me base en el Henschel 33 aunque acabe realizando un modelo con grandes dosis de fantasia. For a long time I had been planning to renew the model of the 3-ton Herrera truck and this week I have completed the version that will serve as the basis for the entire series of models that I need to make. To build this model I based it on the Henschel 33 although I ended up making a model with large doses of fantasy. Aqui esta el modelo en un estado intermedio. Antes de continuar con el detallado realice este render para comprobar las medidas del nodelo. He utilizado las reales como guia pero nuca se sabe y prefiero realizar estas comprobaciones antes de continuar. Here is the model in an intermediate state. Before continuing with the detailing, make this render to check the measurements of the model. I have used the real ones as a guide but you never know and I prefer to do these checks before continuing. En esta imagen, el camion esta casi acabado del todo, solo quedaba por terminar su frontal y algun pequeño detalle mas. In this image, the truck is almost completely finished, only its front and some other small details remained to be finished. Este es el modelo ya texturado. Lo he dispuesto todo para que solo cambiando o eliminando un par de piezas pueda realizar las distintas versiones sin tener que volver a texturar o realizar nuevas UVs. This is the already textured model. I have arranged everything so that by just changing or eliminating a couple of pieces I can make the different versions without having to re-texture or make new UVs. A pesar de todo este trabajo 3d, he tenido tiempo para concluir algunas imagenes para la revista e incluir algunas de ellas en la maquetacion. Mi metodo de trabajo puede parecer un tanto caotico pero a mi, me funciona. Despite all this 3D work, I have had time to finish some images for the magazine and include some of them in the layout. My work method may seem a bit chaotic but it works for me. Esta es la doble pagina que abre la seccion dedicada a la organizacion del grupo de combate. Como en otros numeros de la revista lo hare utilizando siluetas negras. This is the double page that opens the section dedicated to the organization of the combat group. As in other issues of the magazine I will do it using black silhouettes. En esta doble pagina se muestra la composicion del mando y el escuadron de reconocimiento yseñales de la plana mayor del grupo de combate equivalente, mas o menos, a un batallon de infanteria motorizada. El cajetin de texto es solo una guia para componer la pagina. This double page shows the composition of the command and the reconnaissance squadron and signals from the staff of the combat group equivalent, more or less, to a motorized infantry battalion. The text box is only a guide to compose the page. Aqui estan Amparo y Teresa pasando revista a las unidades del grupo pocas horas antes del asalto al Sagrario. Here are Amparo and Teresa reviewing the group's units a few hours before the assault on the Tabernacle. Cierro esta entrada con dos ilustraciones que he ido bocetando estos dias. I close this entry with two illustrations that I have been sketching these days.
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Como anuncia el titulo de esta entrada, esta semana me he dedicado a trabajar en el material ferroviario que queria incluir en este numero de Carpa junto a los modelos que ya tenia hechos. Basicamente, queria añadir una gran locomotora a vapor que fuera capaz de arrastrar el material pesado del grupo de combate. Al final, decidi inspirarme en las locomotoras alemanas de los años 30 y 50, aunque en un principio me base en la clase 05 fabricada por Borsig, preferi realizar un modelo totalmente fantastico y con apenas conexiones con la realidad o la historia. Google translator: As the title of this entry announces, this week I have dedicated myself to working on the railway material that I wanted to include in this issue of Carpa along with the models that I already had made. Basically, he wanted to add a large steam locomotive that would be capable of hauling the heavy equipment of the battle group. In the end, I decided to be inspired by the German locomotives of the 1930s and 1950s, although at first I was based on the class 05 manufactured by Borsig, I preferred to make a totally fantastic model with hardly any connections with reality or history. Esta imagen muestra la locomotora en un estadio intermedio cuando decidi aparcar los planos y trabajar en un diseño basado en la fantasia e ingenieria imperial. This image shows the locomotive in an intermediate stage when he decided to put aside the plans and work on a design based on imperial fantasy and engineering. Este es el modelo acabado y texturado. This is the finished and textured model. El interior del modelo, la cabina, esta detallado con algunos detalles por si quisiera situar alguna escena en su interior, pero, de momento, no esta previsto. Esta tarde,de hecho, he acabado la ilustracion en la que aparecera la locomotora. La trasera de la locomotora esta preparado para incorporar el "Tender" y por eso no aparece modelado. Como en la realidad los dos elementos se encuentran unidos. The interior of the model, the cabin, is detailed with some details in case you want to place a scene inside, but, at the moment, it is not planned. This afternoon, in fact, I finished the illustration in which the locomotive will appear. The rear of the locomotive is prepared to incorporate the "Tender" and that is why it is not modeled. As in reality the two elements are united. La "513" dispuesta para el servicio. Aunque en este numero aparecera tan solo en una ilustracion, he preferido construir un modelo lo mas detallado posible y archivarlo para su posterior utilizacion en futuros proyectos. The "513" ready for service. Although in this issue it will only appear in an illustration, I have preferred to build a model as detailed as possible and archive it for later use in future projects. Construi un vagon plataforma para el transporte del material rodante del grupo de combate, pero el excesivo detalle y texturado de los modelos hizo imposible que mi ordenador pudiera manejarlos. Para solventarlo los sustitui por semiorugas con menos poligonos y un textuirado generico. I built a flat car to transport the battle group's rolling stock, but the excessive detail and texture of the models made it impossible for my computer to handle them. To solve it I replaced them with half-tracks with fewer polygons and a generic texturing. Aqui esta la "513" con los modelos a baja resolucion y asi aparece en la ilustracion que he acabado hace tan solo unos minutos. Here is the "513" with the low resolution models and this is how it appears in the illustration that I finished just a few minutes ago. La ilustracion muestra el paso de la "513" por el viaducto de la tercera tumba y a punto de cruzar las antiguas fronteras imperiales. The illustration shows the passage of the "513" through the third tomb viaduct and about to cross the old imperial borders. Esta ilustracion muestra el momento en que el tren que transporta al resto del personal del grupo de combate abandona Agua Hechicera por la puerta de las caminantes doradas. para la locomotora he reconvertido un antiguo modelo a vapor en una locomotora diesel. En realidad, la transformacion es inapreciable en este punto de vista. This illustration shows the moment when the train carrying the rest of the combat group personnel leaves Agua Hechicera through the gate of the golden walkers. For the locomotive I have converted an old steam model into a diesel locomotive. In reality, the transformation is negligible from this point of view.
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Mi intencion es ir actualizando el trabajo en Carpa 1308 de forma semanal hasta el momento en que este lista para su descarga. El trabajo en si comenzo la semana pasada pero he preferido que esta sea la primera entrada de este numero. En estos momentos todo son pruebas y bocetos y pocos elementos pueden darse por definitivos y en esta entrada, compartire algunos de ellos. Google translator: My intention is to update the work in Carpa 1308 on a weekly basis until it is ready for download. The work itself began last week but I preferred that this be the first entry in this issue. Right now everything is tests and sketches and few elements can be considered definitive and in this entry, I will share some of them. Hace unos meses, realice un modelo de JU-52 para utilizarlo como vehiculo de transporte para Amparo y su grupo de combate. La plana mayor del grupo y dos compañias de fusileras se trasladarian por primera vez al frente de batalla en este avion y el material pesado y las restantes compañias lo harian por tren. La imagen superior es un boceto sobre los preparativos de este vuelo y quedan muchos detalles por acabar: la torre de control y edificios administrativos del aerodromo solo estan bocetados. El modelo de JU-52, aunque ficticio, esta basado en los modelos construidos por CASA en España bajo licencia y me he permitido añadirle unos motores de mucha mas potencia que el original. El modelo lo construi para aprender a realizar chapas onduladas modelandolas, sin utilizar normales, el interior, por eso, solo esta bocetado. A few months ago, I made a JU-52 model to use as a transport vehicle for Amparo and his combat group. The group's staff and two rifle companies would travel to the battle front for the first time in this plane and the heavy material and the remaining companies would do so by train. The image above is a sketch about the preparations for this flight and many details remain to be finished: the control tower and administrative buildings of the aerodrome are only sketched. The JU-52 model, although fictitious, is based on the models built by CASA in Spain under license and I have allowed myself to add engines with much more power than the original. I built the model to learn how to make corrugated sheets by modeling them, without using normal ones, the interior, therefore, is only sketched. Las imagenes con los aviones en vuelo si que estan finalizadas y solo he de escoger una de ellas para la revista. The images with the planes in flight are finished and I only have to choose one of them for the magazine. La primera mision del grupo de combate sera el asalto y captura del sagrario de Santa Brigida y la poblacion adyacente que ha sido convertido por las tropas de Carmencita en una fortaleza inexpugnable. En estos dias ando bocetando el edificio religioso, quiero que tenga una estetica y arquitectura incomprensible para las ciudadanas imperiales y algunas escenas desarrolladas en la zona industrial y la propia poblacion. La imagen superior e inferior muestran a Amparo inspeccionando el Sagrario tras la batalla. The first mission of the combat group will be the assault and capture of the sanctuary of Santa Brigida and the adjacent town that has been converted by Carmencita's troops into an impregnable fortress. These days I am sketching the religious building, I want it to have an aesthetic and architecture incomprehensible to the imperial citizens and some scenes developed in the industrial zone and the population itself. The image above and below show Amparo inspecting the Tabernacle after the battle. He realizado algunos bocetos de vehiculos enemigos en el recinto sagrado para comprobar su presencia con la niebla que facilito el asalto de Amparo pero aun tengo muchas cosas por definir. I have made some sketches of enemy vehicles in the sacred precinct to verify their presence with the fog that facilitated the assault of Amparo but I still have many things to define. Para la zona industrial y la poblacion estoy construyendo una gran zona en ruinas como fondo para algunas escenas, todavia estan por acabar pero me han permitido comenzar a bosquejar algunas escenas de combate y de la resistencia de las tropas de Carmencita. For the industrial zone and the population I am building a large ruined area as a background for some scenes, they are still to be finished but they have allowed me to begin sketching some combat scenes and the resistance of Carmencita's troops. Aqui aparece un carro medio destruido junto a su tripulacion tras los combates por el Sagrario, a pesar de su aparicion junto a otros medios blindados he pensado que estos primeros combates sean protagonizados por la infanteria. Abajo se muestra a dos de las integrantes de una unidad anticarro en accion y responsables de la destruccion del tanque de la imagen superior. Here appears a half-destroyed tank along with its crew after the fighting for the Sagrario, despite its appearance along with other armored vehicles, I have thought that these first combats were carried out by the infantry. Below are two of the members of an anti-tank unit in action and responsible for the destruction of the tank in the image above. He realizado algunos bocetos sobre las unidades enemigas desplegadas en la zona industrial, he aprovechado para incluir algunos modelos para preparar escenas posteriores. I have made some sketches of the enemy units deployed in the industrial zone, I have taken the opportunity to include some models to prepare for later scenes. Todas estas escenas, me serviran para comprobar luces y post produccion antes de realizar las ilustraciones definitivas. Para cerrar dos escenas genericas que he preparado para campo abierto. Siempre suelo trabajar con modulos que se puedan intercambiar y modificar con facilidad. All these scenes will help me check lights and post-production before making the final illustrations. To close two generic scenes that I have prepared for open fields. I always tend to work with modules that can be easily exchanged and modified.
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Esta semana pasada, he iniciado el trabajo en el nuevo numero de Carpa, Carpa 1308, como he comentado en anteriores entradas estara dedicado por entero al grupo de combate Alba negra y comandado por Amparo hasta el fin de la campaña. Si no cambio el guion establecido este sera el primero de los tres numeros que cerraran la historia de Amparo y sus compañeras. El trabajo esta en una fase previa, el guion ya esta completado pero ahora trabajo, sobre todo, en los nuevos modelos e ilustraciones. La imagen superior muestra la primera portada del numero, no se si cambiare su diseño, pero con este ficticio trabajo de Amparo abrire la edicion. Google translator: This past week, I started work on the new Carpa number, Carpa 1308, as I have commented in previous posts, it will be dedicated entirely to the Black Alba combat group and commanded by Amparo until the end of the campaign. If I do not change the established script, this will be the first of the three issues that will close the story of Amparo and her companions. The work is in a preliminary phase, the script is already completed but now I am working, above all, on the new models and illustrations. The image above shows the first cover of the issue, I don't know if I will change its design, but with this fictitious work by Amparo I will open the edition. Antes de ponerme con la edicion de la revista finalice el modelo del "Bison" ficticio que comentaba en otra entrada. Aqui esta la vista frontal, como el modelo real incorporaba la pieza de artilleria al completo decidi hacer el modelo 3d por separado y disponer de un modelo mas para las artilleras imperiales. Before starting to edit the magazine, I finalized the model of the fictional "Bison" that I mentioned in another entry. Here is the front view, as the real model incorporated the entire artillery piece, I decided to make the 3D model separately and have one more model for the imperial artillery. Esta es la vista trasera. Rear view Este es el modelo en posicion de fuego, hice un par de versiones para tener un modelo remolcado y otro para las ilustraciones de accion. Para mis pruebas utilice uno de los semi orugas que construi para el grupo de combate de Amparo y que presento en la imagen inferior. This is the model in firing position, I made a couple of versions to have a towed model and another for the action illustrations. For my tests I used one of the semi-tracks that I built for the Amparo combat group and that I present in the image below. Como vehiculo asignado a Amparo he escogido el Horch descubierto que hice hace algun tiempo. La escena es un boceto de escena invernal que me sirva de base para diferentes ilustraciones y todavia tiene algun detalle a retocar. As the vehicle assigned to Amparo I have chosen the Horch discovered that I made some time ago. The scene is a sketch of a winter scene that serves as a basis for different illustrations and still has some details to retouch. Junto a la portada de la edicion solo he trabajado en las paginas de bienvenida e introduccion, los textos que aparecen no son mas que una guia, pero la maquetacion es casi definitiva. Along with the cover of the edition I have only worked on the welcome and introduction pages, the texts that appear are nothing more than a guide, but the layout is almost definitive. En las proximas entrada continuare actualizando los nuevos contenidos de la revista. In the next posts I will continue updating the new contents of the magazine.
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Barmaids of Skyrim: Elda Early-Dawn, Candlehearth Hall
Diluted posted a blog entry in Inside the Dovahkiin's Secret Studio
As far as Elda would ever be aware, it was all just a memorable and pleasurable dream. The candle the inn was named after wasn't the only fire burning that night. She would "wake up" later in bed like she'd never left. Only the Dragonborn would know the reality of the experience. As "real" as anything could be in a world whose structure was laid bare to you anyway... -
Barmaids of Skyrim - Hulda, The Bannered Mare
Diluted posted a blog entry in Inside the Dovahkiin's Secret Studio
Click, click... "And I'm spent..." Continuing my series of photo shoots featuring the barmaids of Skyrim, this is Hulda from the Bannered Mare in Whiterun. From a storytelling perspective for the sake of my blog, my Dragonborn have access to their own minor plane of Oblivion where these photo sessions take place. In the Austin Powers movies it was called "Mojo". Call it what you will in Skyrim, maybe "Code Magic" but the Dragonborn have the ability to convince almost any NPC to pose for them with the right mods. I also do a lot of streaming of Skyrim on Twitch, these sessions are like R&R stops to try and inject a bit of balance into the game. By default even if you're married your partner's interactions are limited to cooking you meals or selling you things from their shop; it's great to be able to decouple from the grim reality of the stream for a while. Shoot photos; not arrows. This is a good illustration of what a high-definition skin texture mod can do to improve a character's appearance; Bethesda's vanilla skin textures weren't very appealing. It really helps to widen your selection of potentially interesting models above what you'd specifically download and install. I also use a mod called OBody so I can change the Bodyslide types of different characters to different settings on the fly; it was good to give a mature lady a fuller figure. Plot wise, the Dragonborn has just used an Invisibility spell so the boundaries between photographer and invisible participant are somewhat blurred. From a practical perspective I use OStim Standalone for couples scenes, but this limits the body types I can use because of clipping issues with larger breasts in particular. I use a custom control setup for streaming and taking photos; I had been thinking of putting a "behind the scenes" vid on one of these blogs until .mp4 uploads became unavailable. I'd actually been creating video slideshows and thinking about making some real-time material before this. I can't really say I miss the ability though; I wouldn't have tried this newer way of presenting photos otherwise. Learning how to use the GIMP image editing software to easily create the panel format for the work was a big help. This kind of virtual photography and exploring how to tell stories is great; I'd kind of reached the limit of what I could do with slides anyway. My whole blog as a body of work shows how I've learnt things from the basics on up through my material. I'm still learning; I had a lingering distrust of Depth of Field in games before I started taking screenshots, but since I discovered this feature and ENB it's added a whole new visual element to my output. ENB and DOF themselves are things I think I first saw in the images of others on this site, and wondered how they managed to get those results. If you play Skyrim and haven't tried these additions out I'd highly recommend you do - they've transformed how I've been able to take screenshots. Google ENB Reshade which can handle both features. -
Hroki & Beatrix, "Maid to Please" - Couples Pictorial
Diluted posted a blog entry in Inside the Dovahkiin's Secret Studio
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Another graphic novel style entry. As usual we'll assume Errika isn't entirely alone during this shoot; the presence of Invisibility magic in Skyrim allows some things to be left to the imagination.
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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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Carpa 1508 revisado download La quinta parte de la historia de Amparo y sus compañeras, primero de los tres volumenes finales, tambien fue revisado como los volumenes anteriores. Tuvo, sobre todo, una revision grafica y cambie algunos detalles del diseño de la edicion y los textos. Tras este numero, aparecieron dos numeros pertenecientes al universo de Amparo: Carpa 3098 y Carpa 500. El numero 3098 tambien fue revisado durante este pasado año y Carpa 500 fue publicado a finales de ese mismo año. Subo ahora algunas de las paginas revisadas como he hecho en las entradas anteriores. Google translate: The fifth part of the story of Amparo and her companions, the first of the final three volumes, was also revised like the previous volumes. It had, above all, a graphic revision and I changed some details of the design of the edition and the texts. After this issue, two issues belonging to the Amparo universe appeared: Carpa 3098 and Carpa 500. Number 3098 was also revised during this past year and Carpa 500 was published at the end of that same year. I now upload some of the revised pages as I have done in previous posts.
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Carpa 1708 download La segunda parte de la historia de Amparo, tambien fue la segunda edicion que revise. Segui los mismos parametros que para Carpa 1808 y, esta, sera tambien una entrada totalmente grafica con algunas de las nuevas ilustraciones que hice para la ocasion. Esta es la nueva portada: Google translator: The second part of Amparo's story was also the second edition that I reviewed. I followed the same parameters as for Carpa 1808 and, this, will also be a completely graphic entry with some of the new illustrations that I made for the occasion. This is the new cover: los textos solo han sido revisados para corregir algunas incoherencias con los volumenes posteriores y solo se han rehecho algunas secciones como es el caso de la dedicada a las maquinas fotograficas Kolia. The texts have only been revised to correct some inconsistencies with subsequent volumes and only some sections have been redone, such as the one dedicated to Kolia photographic machines.
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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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La octava entrada dedicada a modelos 3d que he ido haciendo durante mi ausencia la dedicare a los modelos aereos que construi para Carpa 500, creo que algunos de los modelos que no llegue a utilizar ya han ido apareciendo. En esta entrada procurare subir imagenes que no haya mostrado anteriormente. Google translator: The eighth entry dedicated to 3D models that I have been making during my absence will be dedicated to the aerial models that I built for Carpa 500, I think that some of the models that I did not use have already appeared. In this entry I will try to upload images that I have not shown previously. Esta es una vista trasera del mismo aparato. Aunque me base en planos, acabe construyendo una version muy personal. Para el primer avion en alzar vuelo en nuestro imperio favorito, pense en basarme en alguno de los modelos diseñados por los hermanos Wright, pero realizando, logicamente un version ficticia como muestra la imagen. Quede satisfecho con el modelo, pero decidi rebuscar en la historia de la aviacion española y pense en realizar el modelo basandome en el primer avion construido en España y que realmente volara. asi que para el primer vuelo de Bonifacia me decante por el aeroplano Oliver-Brunet (1909). Aunque me base en planos y fotografias de una reconstruccion a escala 1/1, hay muchos detalles ficticios para adaptarlo a la historia de la aviacion imperial. This is a rear view of the same device. Although I based it on plans, I ended up building a very personal version. For the first plane to take flight in our favorite empire, I thought of basing it on one of the models designed by the Wright brothers, but logically making a fictional version as shown in the image. I was satisfied with the model, but I decided to look into the history of Spanish aviation and thought about making the model based on the first airplane built in Spain that really flew. So for Bonifacia's first flight I opted for the Oliver-Brunet airplane (1909). Although I based it on plans and photographs of a 1/1 scale reconstruction, there are many fictitious details to adapt it to the history of imperial aviation. Aqui presento dos vistas del modelo sin texturar. Here I present two views of the untextured model. Esta es la ilustracion final que aparecio en Carpa 500. This is the final illustration that appeared in Carpa 500. Aqui esta el modelo pilotado por Bonifacia ese aciago dia tal y como se conserva en la actualidad en la Casa del espacio. Antes de decidirme por este modelo construi una version ficticia del aeroplano con el que el aviador Fernandez encontro la muerte durante una exhibicion aerea en Francia. Here is the model piloted by Bonifacia that fateful day as it is currently preserved in the House of Space. Before deciding on this model I built a fictitious version of the airplane with which the aviator Fernandez met his death during an air show in France. Aqui esta el modelo sin las texturas. Here is the model without the textures. Este es el modelo finalizado, de momento, lo he archivado para futuros proyectos. Para representar la evolucion de la primera unidad aerea en utilizar aerostatos y su conversion en una unidad de reconocimiento aereo que participo en la campaña contra la "Bestia", construi a partir de los planos de un DH4 un avion de reconocimiento fotografico. Hioce el avion un poco mas grande y añadi un espacio para la fotografa y sus dos camaras. Aqui presento dos imagenes del avion sin texturar. This is the finished model, for now, I have filed it for future projects. To represent the evolution of the first air unit to use aerostats and its conversion into an aerial reconnaissance unit that participated in the campaign against the "Beast", I built a photographic reconnaissance aircraft from the plans of a DH4. I made the plane a little bigger and added space for the photographer and her two cameras. Here I present two images of the plane without texture. Aunque practicamente no se apreciaria en las ilustraciones, construi el modelo de la maquina fabricada por Kolia para la fotografia aerea, la hice a partir de un modelo portatil aleman de los años 40. Although it would not practically be seen in the illustrations, I built the model of the machine manufactured by Kolia for aerial photography, I made it from a German portable model from the 40s. Este es un renderizado previo con el aparato en vuelo. En un principio tenia pensado incluir un breve repaso al arma aerea imperial antes de la guerra, pero me parecio que se salia un poco del tema y, aunque realice varios modelos, los acabe rechazando y los he archivado para otros proyectos. This is a previous render with the device in flight. At first I had planned to include a brief review of the imperial air weapon before the war, but it seemed to me that it went a little off topic and, although I made several models, I ended up rejecting them and have filed them for other projects. A partir del TB3 real, construi este bombardero pesado y obsoleto que aun estaba en servicio al principio de la campaña, me base en planos para construirlo, pero como es habitual, muchos detalles son ficticios. Starting from the real TB3, I built this obsolete heavy bomber that was still in service at the beginning of the campaign. I based it on plans to build it, but as usual, many details are fictitious. El bombardero en tierra sin texturas. The bomber on the ground without textures. Y dos imagenes del avion en vuelo, tambien, sin texturar. Diseñe tambien para esa epoco un bombardero ligero, en este caso me base en el DOP-13. Me base en lineas generales en planos y fotografias, pero acabe realizando un modelo propio. And two images of the plane in flight, also, without texturing. I also designed a light bomber for that time, in this case I based it on the DOP-13. I based it broadly on plans and photographs, but I ended up making my own model. Aqui esta el modelo en vuelo y texturado, de la gran mayoria de estos modelos, solo realice, renders previos. Here is the model in flight and textured, of the vast majority of these models, I only made previous renders. Aqui esta el modelo en vuelo pero sin texturar. Here is the model in flight but without texture. Con esta imagen de las ganadoras de la copa Cebolla, lo dejo por hoy. With this image of the winners of the Onion Cup, I'll leave it for today.
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Esta septima entrada de "Algunos modelos 3d", la dedicare en su totalidad a los models 3d que he hecho para los ejercitos de Carmencita en los ultimos tiempos. Algunos de ellos ya han aparecido en algunos numeros de Carpa, pero el resto, los reservo para los numeros finales de la historia de Amparo y sus compañeras. Vamos pues con el primero: Google translator: This seventh entry of "Some 3D models", I will dedicate in its entirety to the 3D models that I have made for the Carmencita armies in recent times. Some of them have already appeared in some issues of Carpa, but I reserve the rest for the final issues of the story of Amparo and her companions. So let's go with the first one: Para los combates finales, realice esta version ficticia de un mensajero del rin sobre blindado pesado, a excepcion del cphete que hice siguiendo planos, todo el vehiculo es pura ficcion. Me base en algunos planos de unidades que nunca entraron en servicio pero deje volor la imaginacion bastante. En los ejercitos de Carmencita entraria en servicio como cohete aire tierra y tierra tierra. For the final combats, I made this fictional version of a heavy armored wheel messenger, except for the cape that I made following plans, the entire vehicle is pure fiction. I based it on some plans of units that never came into service but I let my imagination run wild. In the Carmencita armies it would enter service as an air-to-ground and ground-to-ground rocket. Para complementar el vehiculo anterior realice sobre el mismo chasis un unidad de radar para la direccion de tiro, aunque me base en algunos plasnos, todo el vehiculo es totalmente ficticio. To complement the previous vehicle, I made a radar unit for the direction of fire on the same chassis, although I based it on some plans, the entire vehicle is totally fictitious. Como blindado de reconocimiento decidi construir un vehiculo basado en el Mark VI britanico y aprovechar para realizar algunas de las versiones historicas que se hicieron en su momento. La imagen pertenece al vehiculo base sin pintar y en esta ocasion procure ceñirme a los planos. As an armored reconnaissance vehicle, I decided to build a vehicle based on the British Mark VI and take the opportunity to make some of the historical versions that were made at the time. The image belongs to the unpainted base vehicle and on this occasion I tried to stick to the plans. Durante la segunda guerra mundial, el ejercito aleman utilizo los vehiculos capturados durante la campaña de Francia para construir un pequeño autopropulsado de apoyo a la infanteria. lo construi basandome en planos, pero añadi algunos detalles ficticios, sobre todo en su interior, para su servicio en el ejercito de Carmencita. During the Second World War, the German army used the vehicles captured during the French campaign to build a small self-propelled vehicle to support the infantry. I built it based on plans, but added some fictitious details, especially inside, for its service in Carmencita's army. Esta vista superior muestra el interior del mismo. This top view shows the interior of it. Y aqui, esta el vehiculo pintado. And here is the painted vehicle. Esta es la version para la direccion de tiro artillero, esta basado en el modelo historico. This is the version for artillery fire direction, it is based on the historical model. La ultima version que hice fue esta como vehiculo de municiones para el pequeño autopropulsado. Industrias velasco se convirtio en el gran grupo empresarial que fabrico muchos de los blindados utilizados por el ejercito de Carmencita. Es el responsable del diseño y fabricacion de los grandes vehiculos de 8 ruedas utilizados durante toda la campaña. The last version I made was this as an ammunition vehicle for the small self-propelled one. Industrias Velasco became the large business group that manufactured many of the armored vehicles used by the Carmencita army. He is responsible for the design and manufacture of the large 8-wheeled vehicles used throughout the campaign. Este modelo, basado en un vehiculo fabricado por Steyr en los años 30, lo realice para representar algunos de los vehiculos utilizados durante la primera parte de la campaña y me sirvio para dos versiones complementarias del mismo. This model, based on a vehicle manufactured by Steyr in the 1930s, was made to represent some of the vehicles used during the first part of the campaign and was used for two complementary versions of it. La primera version es este lanza raquetas de grueso calibre y es un diseño propio. los tubos lanzacohetes estan basados en un modelo real, pero es pura fantasia. The first version is this heavy caliber racket launcher and it is my own design. The rocket launcher tubes are based on a real model, but it is pure fantasy. La segunda version es este vehiculo de mando para batallones blindados y es un modelo totalmente ficticio. Aun no se si continuare con la serie Velasco, pero para mostrar la evolucion tecnologica del fabricante diseñe un modelo basado en el Ypf4 fabricado por Daf en una version para el transporte de tropas y otra con torreta blindada. Aunque el primero si que esta basado en planos, el segundo es un modelo totalmente ficticio. The second version is this command vehicle for armored battalions and is a completely fictitious model. I still don't know if I will continue with the Velasco series, but to show the technological evolution of the manufacturer I designed a model based on the Ypf4 manufactured by Daf in a version for transporting troops and another with an armored turret. Although the first is based on plans, the second is a completely fictitious model. Esta es la version para el transporte de tropas. This is the troop transport version. Hace un tiempo estuve trabajando en algunos modelos ficticios del M3 para las tropas de Carmencita, como estos dias he estado revisando algunos detalles, subo algunas imagenes de los mismos sin texturas. A while ago I was working on some fictional models of the M3 for the Carmencita troops, as these days I have been reviewing some details, I upload some images of them without textures. Este es el modelo de cuatro ruedas. This is the four wheel model. Y esta, la version semioruga. And the half track version. La unica version que he hecho es esta antiaerea con remolque, tenia previsto hacer alguna mas, pero de momento, esta parado. The only version I have made is this anti-aircraft gun with a trailer, I had planned to make some more, but for now, it is stopped.
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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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Seto 558 revisado download Ayer, mientras preparaba la entrada de la revision de Carpa 3098, me di cuenta de que muchos de los enlaces han quedado desactualizados. Decidi, entonces, eliminar todas las entradas hasta la referida a Carpa 1812 y volver a subir los enlaces a las publicaciones revisadas. He decidiodo comenzar con el numero de Seto con el que Valeria presentaba a sus lectores algunas de las capturas de pantalla mientras jugaba al Skyrim. Todo el mundo sabe que esta publicacion hipotetica del personaje complementaba los numeros dedicados a narrar su historia de amor con Tinita. Este numero, lo revise bastante a fondo y añadi nuevas imagenes y reorganice todo el texto. Aunque es uno de los primeros numeros de la revista que hice, le tengo mucho aprecio, incansable del skyrim he sido. La imagen superior muestra la portada revisada y, junto al enlace añado algunas de las nuevas paginas de la revision. Google translator: Yesterday, while preparing the Carpa 3098 review entry, I realized that many of the links have become outdated. I decided, then, to delete all the entries up to the one referring to Carpa 1812 and re-upload the links to the revised publications. I have decided to start with Seto's number with which Valeria presented to her readers some of the screenshots while she was playing Skyrim. Everyone knows that this hypothetical publication of the character complemented the issues dedicated to narrating her love story with Tinita. I reviewed this issue quite thoroughly and added new images and reorganized all the text. Although it is one of the first issues of the magazine that I did, I have a lot of appreciation for it, I have been a tireless fan of Skyrim. The image above shows the revised cover and, next to the link, I add some of the new pages of the revision. Esta es la introduccion de Valeria para su publicacion: Mientras limpiábamos nuestro estudio tras nuestra larga estancia en los Estados Unidos, Tinita encontró una caja de zapatos repleta de discos duros externos etiquetados con divertidos nombres de mujer. Eran los discos que utilizaba para guardar las capturas de pantalla y todo lo relacionado con mis largas partidas nocturnas con el ordenador a diversos juegos de rol mientras velaba el sueño de Marisa en los estadios finales de su enfermedad. Las horas que dedique a jugar, a instalar y desinstalar mods en búsqueda de la partida perfecta me ayudaron a sobrellevar los desvelos, sufrimientos e insomnios al cuidar de mi Marisa. De niña había comenzado a estudiar programación para crear sencillos juegos en mi primer MSX y disfrutaba como una loca con las chirriantes cintas y los juegos que compraba en el quiosco. Al crecer fui olvidándome de ellos y solo volví a jugar como vía de escape a la situación que vivía tras meses de análisis y visitas clínicas. Empezar a jugar y explorar el mundo de los “mods” fue algo inmediato, pues encontré en los juegos de mundos abiertos la posibilidad de iniciar un trabajo artístico a partir de la ficticia realidad que yo misma construía en mi cabeza y que en el mundo real no podía llevar a cabo. Todo esto que os cuento, lectores de Seto, era conocido ya por Tinita. Ella fue quien mas me animo en mis intentos de dominar el 3d aplicado a los juegos y gracias a su apoyo constante conseguí muy buenos resultados. Curiosamente, no los he aplicado a ese mundo, es en mi nueva obra fotográfica donde han encontrado su máxima expresión. Lo que nunca había visto Tinita eran las imágenes que contenían los discos duros y mis proyectos de guiones y partidas de rol con delirantes argumentos que escribía en mi cuaderno. Sabia que debía tener este material en algún sitio, pero no le di importancia. Pasamos una tarde la mar de entretenidas las dos montando ordenadores y activando de nuevo las cuentas de los juegos comprados. Milagrosamente, en una de las torres, todavía tenia instalada una partida con todos los mods instalados y funcionando (hubiera tardado horas y horas hacerlo de cero). Así que inicie a Tinita en el loco mundo del rol y mis caóticas producciones. Después de cenar, Tinita, se quedo revisando las imágenes y me insistía que algunas de ellas, a pesar de su reducido tamaño, tenían la calidad suficiente para ser consideradas como material publicable o, incluso, vendible. Le explique los problemas de derechos que tienen las imágenes de juegos y demás y que era mejor concentrarme en mi obra actual que volver al pasado. Mis argumentos no desanimaron a Tinita y encontró la solución perfecta, la que tenéis en vuestras pantallas: un fantástico ejemplar de Seto, al ser de distribución gratuita, Este Seto puede ser considerado obra de una fan mas, ¿Debo ser una Skygirl?, puede ser publicado sin problemas de derechos. Tinita sabe siempre lo que hay que hacer y, esto es lo mas importante, cuando hacerlo. Así que el numero de verano de Seto estará dedicado a presentaros todo este trabajo que hice como “Screener” en una etapa muy dolorosa de mi vida, un tiempo curado y superado con ayuda de Tinita, pero que me preparo para todo lo que habría de venir en el futuro. Al contrario de otros números, recomiendo leer, o disfrutar de la revista en su formato original, pues algunas imágenes las hice en mi viejo portá- til y su resolución era bastante pequeña. Para correr algunos juegos debía de hacer verdaderos equilibrios entre calidad de imagen y rendimiento. Google translator: This is Valeria's introduction for her publication: While we were cleaning our studio after our long stay in the United States, Tinita found a shoe box full of external hard drives labeled with funny women's names. They were the disks that she used to save the screenshots and everything related to my long nighttime games with the computer playing various role-playing games while I watched over Marisa's sleep in the final stages of her illness. The hours she spent playing, installing and uninstalling mods in search of the perfect game helped me cope with the sleeplessness, suffering and insomnia when taking care of my Marisa. As a child I had started studying programming to create simple games on my first MSX and I enjoyed like crazy the creaky tapes and games that she bought at the newsstand. As I grew older I forgot about them and only returned to playing as an escape from the situation I was experiencing after months of analysis and clinical visits. Starting to play and explore the world of “mods” was something immediate, since I found in open world games the possibility of starting an artistic work based on the fictitious reality that I myself built in my head and that in the real world could not carry out. All of this that I tell you, Seto readers, was already known to Tinita. She was the one who encouraged me the most in my attempts to master 3D applied to games and thanks to her constant support I achieved very good results. Curiously, I have not applied them to that world, it is in my new photographic work where they have found the maximum expression of it. What Tinita had never seen were the images that the hard drives contained and my script projects and role-playing games with delirious plots that I wrote in my notebook. I knew I had to have this material somewhere, but I didn't give it any importance. We both spent a very entertaining afternoon setting up computers and activating the accounts of the purchased games again. Miraculously, in one of the towers, I still had a game installed with all the mods installed and working (it would have taken hours and hours to do it from scratch). So I introduced Tinita to the crazy world of role playing and my chaotic productions. After dinner, Tinita stayed reviewing the images and insisted that some of them, despite their small size, were of sufficient quality to be considered publishable or even salable material. She explained to him the rights problems with images of games and so on and that it was better to concentrate on my current work than to go back to the past. My arguments did not discourage Tinita and she found the perfect solution, the one you have on your screens: a fantastic copy of Seto, being freely distributed. This Seto can be considered the work of one more fan. Should I be a Skygirl? be published without rights problems. Tinita always knows what to do and, this is the most important thing, when to do it. So the summer issue of Seto will be dedicated to presenting to you all this work that I did as a “Screener” in a very painful stage of my life, a time healed and overcome with the help of Tinita, but that prepared me for everything that would happen. come in the future. Unlike other issues, I recommend reading or enjoying the magazine in its original format, since I took some images on my old laptop and their resolution was quite small. To run some games I had to make true balances between image quality and performance. Para cerrar añado algunas imagenes:
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Carpa 3098 revisado download Carpa 3098 fue el ultimo de los volumenes dedicados a la historia de Amparo y sus compañeras que revise. En el caso de este numero fueron, mas que nada, revisiones esteticas. Con el numero 3098 cerre la primera etapa de la revista y Carpa 500 se convirtio en el primer numero de su segunda epoca. completo esta entrada con alguna de sus paginas. Google translator: Carpa 3098 was the last of the volumes dedicated to the history of Amparo and her companions that I reviewed. In the case of this issue they were, more than anything, aesthetic revisions. With issue 3098 the first stage of the magazine closed and Carpa 500 became the first issue of its second era. I complete this entry with some of its pages.
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Carpa 1408 download. Tras el retraso producido por algunas incidencias ajenas, abro esta entrada para descargar el nuevo numero de Carpa, Carpa 1408. Como ya he comentado en entradas anteriores esta dedicado, de forma monografica, a presentar el trabajo realizado por Amparo y Teresa para el catalogo de la primera primavera, tras la victoria, de Candelaria Comas Beltran. Como siempre es mejor dejar a la propia Analia que presente el volumen desde su introduccion: Durante el trabajo de nuestra redacción en Carpa 3098 y, según me comento, influenciada por el ambiente de trabajo, Consuelo, decidió presentarme un primer borrador de como debería ser este numero de Carpa. Como hemos comentado en mas de una ocasión, prácticamente, estaría dedicado, en su totalidad, a las sesiones que Amparo y Teresa realizaron para Candelaria Comas Beltran y su Catalogo para la primera primavera de ese año. Como queda demostrado en la edición 3098, su realización, puede ser considerada una fiesta sin fin y liberadas del corsé impuesto por la carpeta de Amparo, Paquita, Dorita y Consuelo soltaron amarras para poder exprimir toda su creatividad. Por lo tanto, había llegado a la conclusión que esta segunda parte del numero final debería olvidar la estética del resto de la serie y recrear los bocetos que nuestras dos amigas realizaron, no solo para preparar las sesiones fotográficas si no también, los diseños previos que presentaron a Candelaria para su catalogo. Dichas ediciones, dirigidas a profesionales, solían constar de dos partes bien diferenciadas, la segunda de ellas incluía toda la información que pudieran necesitar las futuras clientes de los modelos incluidos en esa estación y la primera, destinada a doblegar visualmente a estas compradoras, era diseñada por artistas, seleccionadas personalmente por Candelaria, que supieran alcanzar y plasmar lo imaginado por la propia diseñadora. Tras estudiar durante semanas el material que Amparo había archivado en su baúl, llego a la conclusión que podía recrear casi en su totalidad el trabajo de las dos artistas y el catalogo que debería haber aparecido en su momento. Consuelo había previsto publicar este Carpa 1408, poco antes de la inauguración de la gran exposición, dedicada a la obra fotográfica de Amparo, como el perfecto complemento a dicha muestra, destacando una faceta desconocida de la artista que se vería, sin remedio, sepultada por el resto de su obra. El proyecto de Consuelo no admitía discusión y hubiera dado la aprobación inmediata incluso antes de comenzar a repasar la primera sección. Desgraciadamente, no dependía de mi dar el visto bueno. Cuando recibimos la autorización para realizar todos estos números dedicados a estudiar la carpeta y baúl de Amparo, una de las imposiciones de nuestra cuestora principal fue respetar en todo momento la maquetacion y diseño que la antigua fusilera había concebido originalmente. Al descubrirse, realmente, quien era, estas disposiciones se volvieron mucho mas rígidas y nos impidieron desviarnos de la linea marcada por la artista aunque, es cierto, nunca habíamos notado esa necesidad pues todas nos sentíamos muy cómodas respetando y divulgando su trabajo. Antes que cundiera el desanimo en la redacción por mi respuesta, prometí preparar un memorando especial para solicitar el beneplácito para publicar este Carpa 1408 bajo las nuevas directrices estéticas de Consuelo. A pesar de que la publicación de este numero tal y como lo había previsto Consuelo era bastante incierta, di orden a la redacción de comenzar a trabajar inmediatamente en el si queríamos que llegara a tiempo para la inauguración de la exposición. Mientras tanto, comencé a preparar una solicitud a nuestro mandato para recibir su autorización basándola en la proximidad de la retrospectiva y bocetando un subnumero de la serie final que antes del cierre de la misma, se centrara en la parte de la carpeta que originalmente pensábamos incluir. Así publicaríamos este numero coincidiendo con la gran exposición como un gran volumen especial y justo para su clausura, aparecería Carpa 1308 casi como un epilogo a 1408 y respetaríamos las disposiciones iniciales. En el pasado, el éxito de nuestras ediciones y el duro trabajo realizado por todas nosotras nos había permitido publicar el personal proyecto de Paquita y expandir el numero final en tres partes. No tenia muy claro en ese momento si seguiría siendo suficiente, pero la calidad del trabajo de Consuelo y sus dos compañeras, merecía el esfuerzo que deberíamos afrontar. Julia Balsameda Garcia, nuestra inspectora principal fue la encargada de recibir la propuesta. Aunque habíamos atendido algunas de sus peticiones personales en el pasado, nunca se había acabado de integrar del todo en nuestro equipo cuando trabajamos en ellas. La jaula de las locas, puede ser, a veces, un tanto desconcertante en un primer momento y llegada la hora de la reunión supuse que estas invisibles barreras serian nuestro mayor obstáculo. La exposición se desarrollo sin incidentes y al acabar la misma, Julia solo hizo una pregunta. -¿Y dices que es un proyecto personal de Consuelo? -Si, y, por supuesto, cuenta con todo mi apoyo y el de la redacción. Sonriendo, me entrego un pequeño estuche de piel de labarta. -Considéralo mi regalo de bodas, ten, ábrelo, se que a las dos os gustan este tipo de detalles. La cajita contenía dos pares de guantes blancos... Y tras su introduccion, algunas de las ultimas paginas realizadas: Google translator: Download Tent 1408 After the delay caused by some external incidents, I open this entry to download the new issue of Carpa, Carpa 1408. As I have already commented in previous posts, it is dedicated, in a monographic form, to presenting the work done by Amparo and Teresa for the catalog of the first spring, after the victory, of Candelaria Comas Beltran. As always, it is better to let Analia herself present the volume from its introduction: During our editorial work on Carpa 3098 and, as she told me, influenced by the work environment, Consuelo decided to present me with a first draft of what this number of Carpa should be like. As we have commented on more than one occasion, practically, it would be dedicated, in its entirety, to the sessions that Amparo and Teresa carried out for Candelaria Comas Beltran and her Catalog for the first spring of that year. As demonstrated in edition 3098, its realization can be considered an endless party and freed from the corset imposed by Amparo's folder, Paquita, Dorita and Consuelo let go of their moorings to be able to express all their creativity. Therefore, I had come to the conclusion that this second part of the final issue should forget the aesthetics of the rest of the series and recreate the sketches that our two friends made, not only to prepare the photo sessions but also the previous designs that They presented Candelaria for their catalogue. These editions, aimed at professionals, usually consisted of two very different parts, the second of which included all the information that future clients of the models included in that station might need and the first, intended to visually subdue these buyers, was designed by artists, personally selected by Candelaria, who knew how to achieve and capture what the designer herself imagined. After studying for weeks the material that Amparo had filed in her trunk, she came to the conclusion that she could almost completely recreate the work of the two artists and the catalog that should have appeared at the time. Consuelo had planned to publish this Carpa 1408, shortly before the opening of the great exhibition, dedicated to Amparo's photographic work, as the perfect complement to said exhibition, highlighting an unknown facet of the artist that would be hopelessly buried by the rest of his work. Consuelo's project did not allow discussion and she would have given immediate approval even before beginning to review the first section. Unfortunately, it was not up to me to give the go-ahead. When we received authorization to make all these issues dedicated to studying Amparo's folder and trunk, one of the impositions of our main quaestor was to respect at all times the layout and design that the old rifle had originally conceived. When we really discovered who she was, these provisions became much more rigid and prevented us from deviating from the line set by the artist although, it is true, we had never noticed that need because we all felt very comfortable respecting and disseminating her work. Before discouragement spread in the editorial office over my response, I promised to prepare a special memorandum to request approval to publish this Carpa 1408 under Consuelo's new aesthetic guidelines. Although the publication of this issue as Consuelo had planned was quite uncertain, I gave orders to the editorial team to start working on it immediately if we wanted it to arrive in time for the opening of the exhibition. Meanwhile, I began to prepare a request to our mandate to receive its authorization based on the proximity of the retrospective and sketching a subissue of the final series that, before its closure, would focus on the part of the folder that we originally planned to include. . Thus we would publish this issue coinciding with the great exhibition as a large special volume and just for its closure, Carpa 1308 would appear almost as an epilogue to 1408 and we would respect the initial provisions. In the past, the success of our editions and the hard work done by all of us had allowed us to publish Paquita's personal project and expand the final issue into three parts. I was not very clear at that moment if it would continue to be enough, but the quality of Consuelo's work and that of her two colleagues was worth the effort that we would have to face. Julia Balsameda Garcia, our main inspector, was in charge of receiving the proposal. Although we had addressed some of her personal requests in the past, she had never fully integrated into our team when we worked on them. The crazy cage can sometimes be a bit disconcerting at first and when it came time for the meeting I assumed that these invisible barriers would be our biggest obstacle. The exhibition will be developed roll without incident and at the end of it, Julia only asked one question. -And you say that it is Consuelo's personal project? -Yes, and, of course, it has my full support and that of the editorial staff. Smiling, he handed me a small labarta skin case. -Consider it my wedding gift, here, open it, I know you both like these types of details. The little box contained two pairs of white gloves... And after its introduction, some of the last pages made:
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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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Carpa 500 descargar Tras algunos meses de dispersion, ya esta disponible para su descarga Carpa "D" con el que repasamos la historia de la aviacion en el imperio con motivo del 500 aniversario del primer vuelo automotor de la historia. Dejemos que sea Julia Balsameda García, Inspectora principal del tercer mandato editorial y Arzodocta de tercer nivel quien nos presente la edición. Por todas las lectoras de las publicaciones de este mandato editorial es de sobra conocida la llegada del 500 aniversario del primer vuelo autónomo de una de nuestras ciudadanas y como desde hace ya seis estaciones, los preparativos para la conmemoración de este hecho, se anuncian y publicitan por todo nuestro planeta. Como no podía ser menos, nuestras cuestoras principales, quisieron unirse a las celebraciones dedicando todas las redacciones de este mandato a preparar números especiales sobre la historia de nuestra aviación y la posterior conquista del espacio y nuestro sistema estelar. Dado el gran numero de redacciones que forman los diversos mandatos editoriales, nuestras cuestoras principales temían que los esfuerzos creativos de las mismas se dispersaran y malograran el sentido homenaje que merecen las protagonista de la historia de nuestra aviación y astronáutica. Para subsanarlo, se decidió repartir entre todas las redacciones las diferentes etapas de la evolución aeronáutica y que cada una de ellas enfocara su periodo histórico de la forma que considerara conveniente. Solamente se unificaría la numeración de los formatos especiales sustituyendo el numero 500, atribuido a todos ellos, por la antigua forma de representarlo con la letra “D” y cada redacción quedaría bajo la supervisión de una de las inspectoras del mandato la cual serviría, a su vez, como enlace con los estamentos superiores. La publicación de las ediciones coincidiría con la mañana del aniversario y deberían aparecer antes del inicio del gran desfile estelar que cerraría todos los fastos aéreos de estas ultimas semanas. Como inspectora principal obtuve el privilegio de elegir la redacción que debía supervisar y enlazar. Como todas nuestras lectoras pueden suponer mi elección estaba clara desde un principio y con esta intro, tengo la satisfacción personal de presentar el trabajo realizado por la redacción de fotografía antigua, responsable, entre otros muchos e importantes trabajos sobre el medio, de la publicación y edición de la carpeta de Doña Carmen Montoya de Alba Negra y Piedra Blanca y sus compañeras a lo largo de los últimos números de Carpa. Al equipo que lleva tantas estaciones sorprendiendo a nuestras ciudadanas con su trabajo, he incorporado de forma temporal a Veronica Gutierrez Quesada, oficial científica de la flota estelar y especialista reconocida en el periodo que nos toco en suerte estudiar y presentar en este numero de Carpa, Carpa D. Quiso la fortuna que a esta redacción le fueran asignados los años de sueños, quimeras y pioneras que llevarían a Benita Rocagorda de Pedro Sillano y Velazquez a construir el primer aparato capaz de levantar vuelo por sus propios medios y aunque, este primer éxito acabo en tragedia y Benita nunca pudo continuar con su trabajo, su muerte sirvió de inspiración a todo el planeta sin distinguir entre las diversas naciones e impulso de forma imparable el desarrollo de la aviación y la astronáutica tal y como la conocemos hoy día. Bajo la supervisión histórica de Veronica Gutierrez Quesada hemos dividido la publicación en cuatro partes bien definidas. En primer lugar, en nuestro prologo, muy atrás en el tiempo viajaremos para revisar los proyectos mas fantasiosos e irrealizables que, desde los primeros años de nuestra civilización, rebosaban los cerebros de algunas visionarias y que, en contadas ocasiones, llegaron a despegar del tablero de dibujo según escribieron antiguas cronistas. La segunda parte estará dedicada a la época de las cometas, invento que posibilito el estudio de la mecánica del vuelo y su aplicación practica con este artefacto que, aun hoy día, esta presente en juegos y ceremonias y tan importante, todavía es, en algunas practicas religiosas para recorrer el sendero de la sabiduría e iluminación. En el tercer capitulo estudiaremos los primeros proyectos realizados mediante procedimientos científicos, todavía barnizados con grandes dosis de fantasía pero que uno a uno fueron anunciando la llegada de los primitivos aeroplanos diseñados por Benita. En estos años harán su aparición globos y dirigibles que durante un breve periodo de tiempo se convirtieron en las únicas formas de navegación aérea de nuestro planeta. Cerraremos la edición con los primeros planeadores que llevarían a despegar con su primer aparato a Benita Rocagorda de Pedro Sillano y Velazquez. Nos hubiera gustado poder abarcar este periodo histórico desde todos los puntos de vista necesarios, pero los trabajos y avances por las antiguas naciones de nuestro planeta serán presentados por las restantes redacciones de nuestro mandato y no serán mencionados en nuestro Carpa de forma directa. Tras estas primeras paginas, casi de salutación y bienvenida, la dirección de la publicación quedara en manos de Analía Castro Bermudez y todo el equipo de redacción de Carpa y, puedo asegurar, sin ningún rubor, que nuestras lectoras volverán a disfrutar de su magnifico trabajo como han hecho desde su llegada a este tercer mandato editorial, sin agotar, nunca, nuestra capacidad de asombro. Google translator After a few months of dispersion, Tent "D" is now available for download with which we review the history of aviation in the empire on the occasion of the 500th anniversary of the first self-propelled flight in history. Let Julia Balsameda García, Principal Inspector of the third editorial mandate and third level Archdoc, be the one to present the edition to us. For all the readers of the publications of this editorial mandate, the arrival of the 500th anniversary of the first autonomous flight of one of our citizens is well known and, as for six seasons now, the preparations for the commemoration of this event are announced and publicized. throughout our planet. As could not be less, our main quaestors wanted to join the celebrations by dedicating all the editorial offices of this mandate to preparing special issues on the history of our aviation and the subsequent conquest of space and our star system. Given the large number of editorial offices that make up the various editorial mandates, our main editors feared that their creative efforts would be dispersed and spoil the heartfelt tribute that the protagonists of the history of our aviation and astronautics deserve. To remedy this, it was decided to distribute the different stages of aeronautical evolution among all the editorial offices and for each of them to focus their historical period in the way they considered appropriate. Only the numbering of the special formats would be unified by replacing the number 500, attributed to all of them, with the old way of representing it with the letter “D” and each draft would be under the supervision of one of the inspectors of the mandate who would serve, in turn, as a link with the higher levels. The publication of the editions would coincide with the morning of the anniversary and should appear before the start of the great star parade that would close all the aerial splendor of these last few weeks. As a senior inspector I had the privilege of choosing the editorial staff I was to supervise and liaise with. As all our readers can imagine, my choice was clear from the beginning and with this intro, I have the personal satisfaction of presenting the work carried out by the antique photography editorial team, responsible, among many other important works on the medium, for the publication and edition of the folder of Doña Carmen Montoya de Alba Negra and Piedra Blanca and her companions throughout the last issues of Carpa. To the team that has been surprising our citizens with its work for so many seasons, I have temporarily incorporated Veronica Gutierrez Quesada, scientific officer of the Starfleet and recognized specialist in the period that we were lucky enough to study and present in this issue of Carpa, Carpa D. As luck would have it, this editorial office was assigned the years of dreams, chimeras and pioneers that would lead Benita Rocagorda de Pedro Sillano y Velazquez to build the first device capable of taking flight under its own power and although, this first success It ended in tragedy and Benita was never able to continue her work. Her death served as an inspiration to the entire planet without distinguishing between the various nations and unstoppably promoted the development of aviation and astronautics as we know it today. Under the historical supervision of Veronica Gutierrez Quesada we have divided the publication into four well-defined parts. First of all, in our prologue, we will travel far back in time to review the most fanciful and unrealizable projects that, since the first years of our civilization, filled the brains of some visionaries and that, on rare occasions, managed to take off from the board. of drawing according to ancient chroniclers. The second part will be dedicated to the era of kites, an invention that made possible the study of the mechanics of flight and its practical application with this artifact that, even today, is present in games and ceremonies and is still so important, in some religious practices to travel the path of wisdom and enlightenment. In the third chapter we will study the first projects carried out through scientific procedures, still varnished with large doses of fantasy but which one by one announced the arrival of the primitive airplanes designed by Benita. In these years, balloons and airships will appear, which for a short period of time became the only forms of aerial navigation on our planet. We will close the edition with the first gliders that would lead Benita Rocagorda of Pedro Sillano y Velazquez to take off with her first device. We would have liked to be able to cover this historical period from all necessary points of view, but the works and advances by the ancient nations of our planet will be presented by the remaining editorials of our mandate and will not be mentioned. After these first pages, almost of greeting and welcome, the management of the publication will remain in the hands of Analía Castro Bermudez and the entire Carpa editorial team and, I can assure you, without any embarrassment, that our readers will once again enjoy their magnificent work. as they have done since their arrival to this third editorial mandate, without ever exhausting our capacity for wonder.
