Jedakk's Masterpiece

[Deleted member jedakk]

Talking of camera settings: images like this

View attachment 279202

which are resoundingly erotic, but which the romans couldn't possibly have enjoyed, just make me think that we live in the golden age of crux in 2015!

That's for sure! They would have had to bring in one of those "deus ex machine" cranes, like the Greeks used in their plays to lower in a god or two at the right time, and hoist themselves up there to observe. But yes, anything much above eye level would have been unlikely for those times. And I'd bet a lot that any of these pictures are more erotic than the real thing would have been back in Roman times.

 

[Hondoboot2]

Here are some more of the unused nailing renders from The Serpent's Eye. You may notice that I number these renders based on the scene number of the 3D model followed by a "take" number, similar to the way movie scenes are organized. For example, they might have "Scene 11, Take 3". So what you'll see in these renders is that all of the ones with the same scene number are the same action rendered from different viewpoints. I hope people don't find this too repetitive.

I don't know if anyone else does it this way, but it works excellently for me. Every scene represents an illustration of the action in the story. I always know where a render came from and I save the camera settings so I can go back to that particular setup and re-render the scene any time.

Thank you for posting more of these images Jedakk, they are extremely erotic. I especially like these images:

I like the look on her face as they are about to raise her, she seems to have a look of horror on her face, with a bit of "please don't do this". The close up image also really gives you a look of her fantastic body.

I just love rear views like these, I admit, I am a sucker for a great butt. I prefer a great butt and nice shapely thighs on a woman, not exactly interested in the size of breasts. Small breasts and a great butt are fine with me.

Like Sir Wragg stated, these are great view points, and you really see how the cross goes together. I also love the look of pain written all over her face.

Now with the cross completely raised, you can just feel her excruciating pain, It is written all over her face and body.
Just great images Jedakk

 

[Deleted member jedakk]

View attachment 279216 I just love rear views like these, I admit, I am a sucker for a great butt. I prefer a great butt and nice shapely thighs on a woman, not exactly interested in the size of breasts. Small breasts and a great butt are fine with me.

I love a great butt too! Given the choice of an image of a scene that gives a good view of her butt and one that doesn't, I tend to choose the former to use for illustration purposes. I have to remind myself that I need to pick some different angles and vary them some.

View attachment 279214 View attachment 279215 Like Sir Wragg stated, these are great view points, and you really see how the cross goes together. I also love the look of pain written all over her face.

View attachment 279217 Now with the cross completely raised, you can just feel her excruciating pain, It is written all over her face and body.
Just great images Jedakk

In these scenes she is the most helpless she will ever be. She suddenly experiences the full agony of the nails in her wrists for the first time, and with her feet still free, there is nothing whatever that she can do to escape her pain.

I remember that Jim Bishop, in "The Day Christ Died", speculated that victims often fainted at this point. We have no real evidence of that, but they very well might have - if they were lucky - and Sabina does. But then she awakens again after a moment, and the full force of her agony returns.

Some of us have speculated that perhaps the whipping prior to the cross would have "ramped up" the intensity of their suffering so that the sudden jolt of pain upon being raised on the cross did not send them into shock and early death. But that's only hypothetical, no evidence to support that.

 

[Damian]

Talking of camera settings: images like this

View attachment 279202

which are resoundingly erotic, but which the romans couldn't possibly have enjoyed, just make me think that we live in the golden age of crux in 2015!

That's the good thing with working in 3D, you can change the angles and get lots of great render shots!

 

[Deleted member jedakk]

That's the good thing with working in 3D, you can change the angles and get lots of great render shots!

Once you get the scene built, it becomes more like photography than graphic art. It's like you're moving your digital camera through the scene and taking snapshots from different angles, focusing in on different characters, getting closeups and wide shots. To my eye, some of my scenes have quite a number of dramatic shots in them. I can't use them all, so I have to pick the best ones to use.

 

[Madiosi]

I find this type of numbering and file naming very useful!
Very impressed scenes!

 

[Deleted member jedakk]

I find this type of numbering and file naming very useful!
Very impressed scenes!

Thanks! There were several valuable things I learned when I began illustrating The Serpent's Eye:

The first thing was that I needed a numbering system for naming renders that tied them back to their 3D scene. I think most of us who do 3D pictures just give them any random name, but that doesn't work well if you're trying to do a series like this with hundreds of renders. So I came up with the system I mentioned earlier using chapter name, scene number, and take number, for example "Sabina Nailing Scene 1-5".

The second thing was that I really needed to capture the camera settings I used for a particular render. Eventually I learned that Poser has a tab for that in its menu system. So I create a folder for each scene under the Camera Settings tab in the Poser menu and capture the camera settings for each render. Here's what my camera menu looks like for nailing scene 1:



So when I reopen a scene I've worked on, I can go back to any camera view of the scene by clicking its menu icon.

I have similar menus for the poses, materials settings, figures and lights. You can even save a crowd of people or objects as a scene and import them all at once into another scene you're building, so you can have a reusable crowd provided your computer will handle it.

There's more if anyone is interested, but this is enough for now.

 

[Hondoboot2]

Thanks! There were several valuable things I learned when I began illustrating The Serpent's Eye:

The first thing was that I needed a numbering system for naming renders that tied them back to their 3D scene. I think most of us who do 3D pictures just give them any random name, but that doesn't work well if you're trying to do a series like this with hundreds of renders. So I came up with the system I mentioned earlier using chapter name, scene number, and take number, for example "Sabina Nailing Scene 1-5".

The second thing was that I really needed to capture the camera settings I used for a particular render. Eventually I learned that Poser has a tab for that in its menu system. So I create a folder for each scene under the Camera Settings tab in the Poser menu and capture the camera settings for each render. Here's what my camera menu looks like for nailing scene 1:

View attachment 279877

So when I reopen a scene I've worked on, I can go back to any camera view of the scene by clicking its menu icon.

I have similar menus for the poses, materials settings, figures and lights. You can even save a crowd of people or objects as a scene and import them all at once into another scene you're building, so you can have a reusable crowd provided your computer will handle it.

There's more if anyone is interested, but this is enough for now.

Thank you for this information Jedakk, I am fascinated with 3D artwork, what goes into it's production......oh how I wish I was an artist......it looks like a lot of work, but also a lot of fun.

 

[Madiosi]

Thanks! There were several valuable things I learned when I began illustrating The Serpent's Eye:

The first thing was that I needed a numbering system for naming renders that tied them back to their 3D scene. I think most of us who do 3D pictures just give them any random name, but that doesn't work well if you're trying to do a series like this with hundreds of renders. So I came up with the system I mentioned earlier using chapter name, scene number, and take number, for example "Sabina Nailing Scene 1-5".

The second thing was that I really needed to capture the camera settings I used for a particular render. Eventually I learned that Poser has a tab for that in its menu system. So I create a folder for each scene under the Camera Settings tab in the Poser menu and capture the camera settings for each render. Here's what my camera menu looks like for nailing scene 1:

View attachment 279877

So when I reopen a scene I've worked on, I can go back to any camera view of the scene by clicking its menu icon.

I have similar menus for the poses, materials settings, figures and lights. You can even save a crowd of people or objects as a scene and import them all at once into another scene you're building, so you can have a reusable crowd provided your computer will handle it.

There's more if anyone is interested, but this is enough for now.

A good system make work and find easy.

 

[Deleted member jedakk]

A few more of the renders I didn't use.

The first one, Scene 14x1-4, continues on with Scene 14: Sabina has been hung on the cross, where, hanging by her nailed wrists, she struggled with her feet free until her agony made her faint. Upon returning to consciousness, she cries and struggles weakly to push herself up.

The two pictures from Scene 15 shows one of the executioner's helpers holding Sabina's body forward, away from the cross with one arm under her thighs and his other hand grasping her buttocks. Another is installing the cornu into the cross behind her as she struggles to see what he is doing, even though she knows what the cornu is and what it means. Distracted by that, she pays no attention to the one who is binding her feet together with rope.

The remaining renders are different angles from Scene 16. One of the executioner's helpers is finishing up with tying her feet to the cross. She knows that the purpose of binding her feet is to keep her from pulling them away while the executioner drives nails through them. The executioner stands waiting before her now, hammer and nails in hand, to finish crucifying her; she can only watch him in terror, helpless.

 

[Hondoboot2]

A few more of the renders I didn't use.

The first one, Scene 14x1-4, continues on with Scene 14: Sabina has been hung on the cross, where, hanging by her nailed wrists, she struggled with her feet free until her agony made her faint. Upon returning to consciousness, she cries and struggles weakly to push herself up.

The two pictures from Scene 15 shows one of the executioner's helpers holding Sabina's body forward, away from the cross with one arm under her thighs and his other hand grasping her buttocks. Another is installing the cornu into the cross behind her as she struggles to see what he is doing, even though she knows what the cornu is and what it means. Distracted by that, she pays no attention to the one who is binding her feet together with rope.

The remaining renders are different angles from Scene 16. One of the executioner's helpers is finishing up with tying her feet to the cross. She knows that the purpose of binding her feet is to keep her from pulling them away while the executioner drives nails through them. The executioner stands waiting before her now, hammer and nails in hand, to finish crucifying her; she can only watch him in terror, helpless.

Great alternate views Jedakk. I especially love this one:
Great view of her backside
I never get tired of looking at your renders. Thanks for posting more of them!

 

[Wragg]

A few more of the renders I didn't use.

The first one, Scene 14x1-4, continues on with Scene 14: Sabina has been hung on the cross, where, hanging by her nailed wrists, she struggled with her feet free until her agony made her faint. Upon returning to consciousness, she cries and struggles weakly to push herself up.

The two pictures from Scene 15 shows one of the executioner's helpers holding Sabina's body forward, away from the cross with one arm under her thighs and his other hand grasping her buttocks. Another is installing the cornu into the cross behind her as she struggles to see what he is doing, even though she knows what the cornu is and what it means. Distracted by that, she pays no attention to the one who is binding her feet together with rope.

The remaining renders are different angles from Scene 16. One of the executioner's helpers is finishing up with tying her feet to the cross. She knows that the purpose of binding her feet is to keep her from pulling them away while the executioner drives nails through them. The executioner stands waiting before her now, hammer and nails in hand, to finish crucifying her; she can only watch him in terror, helpless.

16-17 001: just look and see how Jedakk has captured the terror in her eyes. God knows how he does it.

I'm just glad he does!

 

[Deleted member jedakk]

16-17 001: just look and see how Jedakk has captured the terror in her eyes. God knows how he does it.

I'm just glad he does!

Thanks! Her eyes are wide and fixed on the source of her fear; head pulled back as far as she can, the only way she is able to distance herself from the threat; brows raised and squeezed together; cheeks raised and tense; nostrils flared; lips drawn back and frowning. She is in flight mode, but there's no way for her to flee.

If her head was bent forward and her eyes were raised toward the threat - kind of the reverse of the pose she has now, it would give an impression of resignation instead. I have a book on the subject of animating facial expressions which is a big help, but I also observe people and think about these things.

 

[Deleted member jedakk]

Great alternate views Jedakk. I especially love this one:
View attachment 280763 Great view of her backside
I never get tired of looking at your renders. Thanks for posting more of them!

Yeah, I really like this one too!

 

[montycrusto]

Yeah, I really like this one too!

Great job Jedakk, amazing pictures

 

[kádár lászló]

A few more of the renders I didn't use.

The first one, Scene 14x1-4, continues on with Scene 14: Sabina has been hung on the cross, where, hanging by her nailed wrists, she struggled with her feet free until her agony made her faint. Upon returning to consciousness, she cries and struggles weakly to push herself up.

The two pictures from Scene 15 shows one of the executioner's helpers holding Sabina's body forward, away from the cross with one arm under her thighs and his other hand grasping her buttocks. Another is installing the cornu into the cross behind her as she struggles to see what he is doing, even though she knows what the cornu is and what it means. Distracted by that, she pays no attention to the one who is binding her feet together with rope.

The remaining renders are different angles from Scene 16. One of the executioner's helpers is finishing up with tying her feet to the cross. She knows that the purpose of binding her feet is to keep her from pulling them away while the executioner drives nails through them. The executioner stands waiting before her now, hammer and nails in hand, to finish crucifying her; she can only watch him in terror, helpless.

Sabina the perfect series and perfect work!

 

[Damian]

Great alternate views Jedakk. I especially love this one:
View attachment 280763 Great view of her backside
I never get tired of looking at your renders. Thanks for posting more of them!

Me too, the positioning of the cornu is perfect!

 

[Deleted member jedakk]

Me too, the positioning of the cornu is perfect!

Thanks! I created it with the idea that resting on the cornu should clearly be an option for the victim. It projects from the cross just enough to enable her to slip it into her vagina if she chooses while giving her enough room to avoid it completely and hang by her wrists if she chooses.

Ajax, one of the big black executioner's helpers, made the one for Sabina's crucifixion especially to fit her. He talks about that in Chapter 2:

Ajax added, “I was just making a new cornu for your slave girl, Sabina. She rides the unicorn tomorrow.”

“The unicorn?” I asked, puzzled.

“You know, the beast with one horn in the middle of its forehead! Balbus wouldn’t let me take her measure, but I think it’ll be a good fit for her. I had to allow for that sweet round ass of hers, give it a little more space between the stipes and the horn so it’s an easy fit for her cunt. What with her being a girl, she gets to make choices when she feels a need to mount it."​

 

[Eulalia]

That's exactly how I've always imagined the ideal cornu, Jedakk.
Apart from my 'comfort' - at least, a little 'rest and relaxation' in my struggle on the cross -
a thoughtfully-designed one like that wouldn't prevent me from moving my body about
in ways that would be pleasant for the spectators -
a bigger, more brutal spike would simply impale me, prevent any wriggling or writhing,
and probably kill me off pretty quick with a heroic haemorrhage.

 

[Deleted member jedakk]

That's exactly how I've always imagined the ideal cornu, Jedakk.
Apart from my 'comfort' - at least, a little 'rest and relaxation' in my struggle on the cross -
a thoughtfully-designed one like that wouldn't prevent me from moving my body about
in ways that would be pleasant for the spectators -
a bigger, more brutal spike would simply impale me, prevent any wriggling or writhing,
and probably kill me off pretty quick with a heroic haemorrhage.

One of the things I aimed for in writing this story as fiction rather than pure fantasy was making things believable and physically possible so people would say what you said. I've seen many depictions of more dramatic-looking cornus, but their effect would be to constrain the victim's movements or kill her quite quickly. This one ought to be short enough to avoid serious internal injury but long enough to satisfy the onlookers and keep her from slipping off of it when she faints. And at the same time, she has full freedom of movement to twist and writhe in interesting ways, otherwise these illustrations would become monotonous pretty quickly!