-
Sign up or login, and you'll have full access to opportunities of forum.
Alice Kiss - Crux Legend
- Thread starter bobinder
- Start date
-
- Tags
- original art
LittleSiss
Sorceress
There are villains in time.No, you "know" ( or imagine) she's Barb but Alice has her own life too !
The sweeter the nectar the more intense the sting.
To ignore the tongue of the bee sipping, is like a hummingbird in flight.
The unseen is consumed within the act and the power is only known within.
Last edited:
Alice has her own life too !
'Alice and Koshka in the Crux Forest'
20 June 2007 - Fourteenth Anniversary
(Image hosted on external site)
20 June 2007 - Fourteenth Anniversary
(Image hosted on external site)
This year's anniversary picture is based on a scene from the beginning of the 'Crux Forest' video. It is not strictly accurate, since Koshka was already tied to the stake before Alice was fettered with shackles and chains. The iron collar around her neck is obscured by hair, and she is bolted into the full set of Cruxdreams ironware, weighing 9 kg.
The use of restraints ensured that the pre-crux filming carried a risk of compromise, since it would be impossible to get dressed quickly in the event of being disturbed by anyone taking an afternoon stroll through the woods. Alice wore the full set only for this scene. The manacles were removed when her arms were tied to the patibulum for the carrying sequence, although she remained collared and fettered on the walk to the cross.
Alice was quite used to posing nude in outdoor photo sessions, and this was the only occasion on which she did so with another model, since her other duo sets are all studio sessions. This was also the only time she ever posed in restraints or acted in a feature length video production.
Some of the tension being expressed here is simply acting, according to directions given by Makar and ImageMaker. But on another level, the sense of tension and anticipation is very real. Alice's role is that of a person awaiting sentence, and she was required to identify with being found guilty on capital charges. A Cruxdreams contract amounts to a re-enactment of an ancient Roman execution. In simple terms, she was being asked to identify with the prospect of facing death by crucifixion. In basic roleplay terms, this was probably sufficient to put her emotions in turmoil.
The 'Crux Forest' was Koshka's second Cruxdreams session, and so Alice could feel confident that the acting experience was not only endurable but something which the actress might wish to try again. However, whilst Alice visualised and expressed the anguish of a person about to be put to death by crucifixion, she probably felt genuinely anxious about being chained up, naked in the woods. It would be entirely understandable if she was also concerned about how she would cope with the impending ordeal of actually hanging from the cross.
Alice had never done anything like this before, and we can only imagine how she was feeling. The anniversary picture is intended to reflect a mixture of emotions. Her expression appears calm and slightly disorientated as she handles the chain connecting her manacles. The slender arms and legs accentuate the vulnerability and frailty of her naked form, in contrast with the heavy, black ironwork in which they are restrained. The stake behind her back, with one end of Koshka's binding rope hanging down, is symbolic of the somewhat larger cross which awaits her.
This is a rare example of Alice's nude modelling in which her breasts and vulva are not visible. She appears self-conscious, but this is a natural pose, contrasting the last few moments of relative comfort with the spectacle of writhing agony shortly to come. She knows the camera is rolling, and perhaps she is experiencing some understandable doubts and fears, wondering if the sequence of events leading to her crucifixion is really happening? Fourteen years later, we know it happened, and her performance remains outstanding.
The picture is a manipulation in 31 layers. The ground cover consists of 15 individual areas, blended together. All of the image components are sourced from authentic 'Crux Forest' material, which helps to ensure consistency in the lighting conditions and colour saturation. 21 layer masks are employed in shaping the individual components.
Alice is a composite figure, created in 9 sections, derived from screen shots of the video. The missing areas of the buttocks and feet have been recreated by digital overpainting - a technique also applied to the horizontal strip of the video timeline. Filter treatments are minimal, and the green colour blending filter is almost invisible at 2% opacity. The main figure sources are derived from these two close-up views, filmed by ImageMaker -
Now that I didn't know...
Well, yes, but you have to admit that Alice's acting was in a different league to most models...
Gentle Reader, this man Bobinder know how to pay attention to every tiny detail in his pursuit of excellence in his art. A filter at 2% opacity? But Bob would notice if it wasn't there.
The result is a beautiful image that looks for all the world as if it is one of Makar's originals. Incredible, Bob!
Gibbs505
SERVORUM DOMITOR
I am in Awe of your work!'Alice and Koshka in the Crux Forest'
20 June 2007 - Fourteenth Anniversary
(Image hosted on external site)
View attachment 1022346
This year's anniversary picture is based on a scene from the beginning of the 'Crux Forest' video. It is not strictly accurate, since Koshka was already tied to the stake before Alice was fettered with shackles and chains. The iron collar around her neck is obscured by hair, and she is bolted into the full set of Cruxdreams ironware, weighing 9 kg.
The use of restraints ensured that the pre-crux filming carried a risk of compromise, since it would be impossible to get dressed quickly in the event of being disturbed by anyone taking an afternoon stroll through the woods. Alice wore the full set only for this scene. The manacles were removed when her arms were tied to the patibulum for the carrying sequence, although she remained collared and fettered on the walk to the cross.
Alice was quite used to posing nude in outdoor photo sessions, and this was the only occasion on which she did so with another model, since her other duo sets are all studio sessions. This was also the only time she ever posed in restraints or acted in a feature length video production.
Some of the tension being expressed here is simply acting, according to directions given by Makar and ImageMaker. But on another level, the sense of tension and anticipation is very real. Alice's role is that of a person awaiting sentence, and she was required to identify with being found guilty on capital charges. A Cruxdreams contract amounts to a re-enactment of an ancient Roman execution. In simple terms, she was being asked to identify with the prospect of facing death by crucifixion. In basic roleplay terms, this was probably sufficient to put her emotions in turmoil.
The 'Crux Forest' was Koshka's second Cruxdreams session, and so Alice could feel confident that the acting experience was not only endurable but something which the actress might wish to try again. However, whilst Alice visualised and expressed the anguish of a person about to be put to death by crucifixion, she probably felt genuinely anxious about being chained up, naked in the woods. It would be entirely understandable if she was also concerned about how she would cope with the impending ordeal of actually hanging from the cross.
Alice had never done anything like this before, and we can only imagine how she was feeling. The anniversary picture is intended to reflect a mixture of emotions. Her expression appears calm and slightly disorientated as she handles the chain connecting her manacles. The slender arms and legs accentuate the vulnerability and frailty of her naked form, in contrast with the heavy, black ironwork in which they are restrained. The stake behind her back, with one end of Koshka's binding rope hanging down, is symbolic of the somewhat larger cross which awaits her.
This is a rare example of Alice's nude modelling in which her breasts and vulva are not visible. She appears self-conscious, but this is a natural pose, contrasting the last few moments of relative comfort with the spectacle of writhing agony shortly to come. She knows the camera is rolling, and perhaps she is experiencing some understandable doubts and fears, wondering if the sequence of events leading to her crucifixion is really happening? Fourteen years later, we know it happened, and her performance remains outstanding.
The picture is a manipulation in 31 layers. The ground cover consists of 15 individual areas, blended together. All of the image components are sourced from authentic 'Crux Forest' material, which helps to ensure consistency in the lighting conditions and colour saturation. 21 layer masks are employed in shaping the individual components.
Alice is a composite figure, created in 9 sections, derived from screen shots of the video. The missing areas of the buttocks and feet have been recreated by digital overpainting - a technique also applied to the horizontal strip of the video timeline. Filter treatments are minimal, and the green colour blending filter is almost invisible at 2% opacity. The main figure sources are derived from these two close-up views, filmed by ImageMaker -
Superb, Bob! I can't really add much to what others have already said. One really cannot tell where the original photo ends and the manip begins. Very close to perfect, and I believe you would miss the colour blend layer at 2%.'Alice and Koshka in the Crux Forest'
20 June 2007 - Fourteenth Anniversary
(Image hosted on external site)
View attachment 1022346
This year's anniversary picture is based on a scene from the beginning of the 'Crux Forest' video. It is not strictly accurate, since Koshka was already tied to the stake before Alice was fettered with shackles and chains. The iron collar around her neck is obscured by hair, and she is bolted into the full set of Cruxdreams ironware, weighing 9 kg.
The use of restraints ensured that the pre-crux filming carried a risk of compromise, since it would be impossible to get dressed quickly in the event of being disturbed by anyone taking an afternoon stroll through the woods. Alice wore the full set only for this scene. The manacles were removed when her arms were tied to the patibulum for the carrying sequence, although she remained collared and fettered on the walk to the cross.
Alice was quite used to posing nude in outdoor photo sessions, and this was the only occasion on which she did so with another model, since her other duo sets are all studio sessions. This was also the only time she ever posed in restraints or acted in a feature length video production.
Some of the tension being expressed here is simply acting, according to directions given by Makar and ImageMaker. But on another level, the sense of tension and anticipation is very real. Alice's role is that of a person awaiting sentence, and she was required to identify with being found guilty on capital charges. A Cruxdreams contract amounts to a re-enactment of an ancient Roman execution. In simple terms, she was being asked to identify with the prospect of facing death by crucifixion. In basic roleplay terms, this was probably sufficient to put her emotions in turmoil.
The 'Crux Forest' was Koshka's second Cruxdreams session, and so Alice could feel confident that the acting experience was not only endurable but something which the actress might wish to try again. However, whilst Alice visualised and expressed the anguish of a person about to be put to death by crucifixion, she probably felt genuinely anxious about being chained up, naked in the woods. It would be entirely understandable if she was also concerned about how she would cope with the impending ordeal of actually hanging from the cross.
Alice had never done anything like this before, and we can only imagine how she was feeling. The anniversary picture is intended to reflect a mixture of emotions. Her expression appears calm and slightly disorientated as she handles the chain connecting her manacles. The slender arms and legs accentuate the vulnerability and frailty of her naked form, in contrast with the heavy, black ironwork in which they are restrained. The stake behind her back, with one end of Koshka's binding rope hanging down, is symbolic of the somewhat larger cross which awaits her.
This is a rare example of Alice's nude modelling in which her breasts and vulva are not visible. She appears self-conscious, but this is a natural pose, contrasting the last few moments of relative comfort with the spectacle of writhing agony shortly to come. She knows the camera is rolling, and perhaps she is experiencing some understandable doubts and fears, wondering if the sequence of events leading to her crucifixion is really happening? Fourteen years later, we know it happened, and her performance remains outstanding.
The picture is a manipulation in 31 layers. The ground cover consists of 15 individual areas, blended together. All of the image components are sourced from authentic 'Crux Forest' material, which helps to ensure consistency in the lighting conditions and colour saturation. 21 layer masks are employed in shaping the individual components.
Alice is a composite figure, created in 9 sections, derived from screen shots of the video. The missing areas of the buttocks and feet have been recreated by digital overpainting - a technique also applied to the horizontal strip of the video timeline. Filter treatments are minimal, and the green colour blending filter is almost invisible at 2% opacity. The main figure sources are derived from these two close-up views, filmed by ImageMaker -
Gentle Reader, this man Bobinder know how to pay attention to every tiny detail in his pursuit of excellence in his art. A filter at 2% opacity? But Bob would notice if it wasn't there.
The result is a beautiful image that looks for all the world as if it is one of Makar's originals. Incredible, Bob!
Amazing ! Flawless ...+
Thanks to everyone for the 'likes' and positive comments. Some of you are aware of the challenges involved in balancing the figure proportions, and admittedly the 2% colour filter is almost transparent. Since the various components were photographed in the same place, on the same afternoon, very few colour adjustments were required.Superb, Bob! I can't really add much to what others have already said. One really cannot tell where the original photo ends and the manip begins. Very close to perfect, and I believe you would miss the colour blend layer at 2%.
The multiple layer masks allowed for infinite adjustments in merging the areas of ground cover, which was useful for making the ferns appear to recede into the distance.
I am pleased with the result and delighted that the new picture is being well received.
For those interested in the restraints, the information about the total weight of the Cruxdreams ironware comes from Makar's DeviantArt gallery. On 25 February 2009, Makar photographed a session with the model named, Tutoro. One of the pictures from that session shows her wearing the full set of restraints. The picture was published two years later, on 10 March 2011, with the title, 'Up There'. A comment by kenham1 states, 'Nice! - Like the sturdy looking collar there.' Makar's response reads, '9 kilos for the whole set.'
Up there by makar013 on DeviantArt
www.deviantart.com
Brujita-CrucificadiTa
Executioner
Uff Exquisitely delicious. <3
mp5stab
Hair and Nails
Isn’t she just the cutest? I get the obsession
Indeed, she is pure inspiration - and I think it's time for a new manip!
(Image hosted on external site)
She just has that way of looking at the camera.Indeed, she is pure inspiration - and I think it's time for a new manip!
(Image hosted on external site)
Another beautiful image, Bob!
You're just showing off your absolutely unbelievable skill at getting every hair of her head right. This isn't a manip; it's a photo, right? Seriously, beautiful work, Bob!Indeed, she is pure inspiration - and I think it's time for a new manip!
(Image hosted on external site)
She just has that way of looking at the camera.
Another beautiful image, Bob!
Thanks for your kind comments. As you probably suspect, the hair is revealed by the masking technique. There are nine visible layers, of which six are texture and colour blending filters. The portrait is from a studio session (MPL's 'Basic Instinct') and the background is a photo-realistic painting by Cayetana Conrad, entitled 'Wild Grasses'.You're just showing off your absolutely unbelievable skill at getting every hair of her head right. This isn't a manip; it's a photo, right? Seriously, beautiful work, Bob!
The bright colours of the painting have been partially desaturated and slightly defocused. Alice's lips were masked separately to remove her lipstick and present a more natural appearance. The various filters help to tune the colours of the subject and background, blending them into a harmonious ensemble, and disguising the fact that the source images are quite different in terms of media.
You're a master at this, Bob. The professor of manips.Thanks for your kind comments. As you probably suspect, the hair is revealed by the masking technique. There are nine visible layers, of which six are texture and colour blending filters. The portrait is from a studio session (MPL's 'Basic Instinct') and the background is a photo-realistic painting by Cayetana Conrad, entitled 'Wild Grasses'.
The bright colours of the painting have been partially desaturated and slightly defocused. Alice's lips were masked separately to remove her lipstick and present a more natural appearance. The various filters help to tune the colours of the subject and background, blending them into a harmonious ensemble, and disguising the fact that the source images are quite different in terms of media.
Fossy
SEXPIOGENTUS
Gorgeous girl ... a true inspiration for what we do here on CF!Indeed, she is pure inspiration - and I think it's time for a new manip!
(Image hosted on external site)
Indeed, many of us would love to meet Alice.Alice, a girl that I could wish to meet in another circumstances ...
It is a curious experience to discover a new manipulation by an established crux artist, in which the components are entirely familiar. In fact six months ago, I became aware that Messa was thinking about producing a dual crux scene, portraying herself with Alice. The result is an arresting synthesis of 'Ivdaea Capta 6' and 'Via Appia 24', using the desert background from the former.
The background has been carefully prepared by duplicating the sand dunes and distant mountains, to extend the scene to the right. By cropping the left side, the widescreen aspect ratio, so typical of my work, is preserved. The sky and clouds have been skilfully painted above the new horizon. My original intention was to represent the Judean Desert in the area of Qumran, but the location was later identified by @MahaShiva as Shivta National Park, at Beersheba. In fact, this is some distance to the south of Jerusalem, and about 120 miles from Qumran.
Alice is a composite figure, derived from the well known 'Low Tide' picture by Valery Anzilov. The composite figure of Messa is based on Iveta from ErroticaArchive. Whilst variations exist with Messa's signature flower crown and loincloth, on this occasion, she reflects Alice's exposure by appearing completely nude. 'Ivdaea Capta 6' is a rare example of Alice's feet being shown transfixed by a single nail, and this is also reflected in Messa's pose.
Bright, desert crux scenes, depicting pale-skinned subjects, often run the risk of losing definition when the skin tones merge into the colour of the sand. But Messa has countered this effect by preserving the contrast of the dark stipes behind her figure. Above each cross, a rough wooden titulus confirms the names of the condemned, making a distinction between Judaean Nationalist and Amazon, but uniting them in the criminal charge of rebellion. Both have evidently been inscribed by the same hand.
In recognition of her sources, Messa has retained both of my rustic crosses rather than employing her own high quality 'French Premium' timber. This contributes to a coherent image, which is visually well balanced and preserves the warm colour treatment of the 'Ivdaea Capta' series. Nice work - thank you, Messa!