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  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. 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:
  6. ertyu

    Carpa 3098 revisado

    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.
  7. ertyu

    Carpa 1508 revisado

    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. Captura de pantalla 2024-02-07 a las 13.41.16.tiff
  8. ertyu

    Carpa 1708 revisado

    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.
  9. ertyu

    Carpa 500

    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.
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