Um... what do you mean, Eul???You need to be careful of advertising French lessons in Britain,
ladies doing that are often assumed to be offering other services
Messa is a lady of unreputable character...
...and charms!!!
Tree
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Alice Kiss - Crux Legend
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Messa is a lady of unreputable character...
...and charms!!!
Tree
I'm almost sure you don't mean "unreputable".
Unquestionable, perhaps. Also indisputable.
I defer to the grim reaper...I'm almost sure you don't mean "unreputable".
Unquestionable, perhaps. Also indisputable.
messaline
Crucified Amazon
Or unrepeatable ?I'm almost sure you don't mean "unreputable".
Unquestionable, perhaps. Also indisputable.
andy01
Magistrate
One thinks of the Frenchman living in England trying to explain the problem to a gynaecologist: "You understand, my wife she is inconceivable ... non, non, non, I mean to say she is impregnable... non, non, wait, Ah I have it. My wife, she is unbearable!"I'm almost sure you don't mean "unreputable".
Unquestionable, perhaps. Also indisputable.
bobinder
ARTISAN
Originally posted in Hondoboot2's thread, Tattooed Ladies
One of the most famous tattoos in crux -
occupies the left shoulder blade of Alice Kiss. This tattoo is generally referred to as a 'Chinese character', although Maha Shiva's first impression was that it appears to be Sanskrit. He later suggested that it might be an extremely stylised version of the Chinese symbol meaning, 'Poison'. In tattoo art, the Poison symbol carries associated meanings of 'harsh' and 'tough'. I am speculating, but it might just be the kind of tattoo you get in Moscow, if you ask for a Chinese character indicating a tough, no-nonsense, independent persona.
Alice's second tattoo is even more impressive, but is rarely seen. It occupies a large area of her lower back and tends not to have been appreciated by her photographers, who generally airbrushed it out of her modelling shoots. It appears to be a creature with a long beak and wings. The best image of this tattoo was photographed by Makar during the filming of 'Alice and Koshka in the Crux Forrest', and ironically the tattoo appears in an extremely rare picture of Alice fully clothed! Makar's pictures are always honest images, which are almost never Photoshopped - what you see is what you get. My impression is that Alice has a large humming bird on her back.
The hummingbird tattoo is considered to be a popular mainstream tattoo for women. A unique and graceful bird, able to fly in all directions, even backwards and upside down, up to 25 miles per hour, it eats fifty times a day due to its constant burning of energy. Because the hummingbird is so small, it has to work hard to survive. A tattoo of a hummingbird can represent such adversity and be meaningful to a person who has been through a lot in life. It symbolises the strength to rise above trouble and hardship.
It is emblematic of going through hard times and surpassing them, representing someone who lives life to the full. The tattoo represents energy, hard work, and unfailing effort. Other meanings include, love, joy, hope, life and peace. Although the hummingbird is often associated with attraction and affection, it is a lone traveller, an independent bird which spends most of its time alone. The hummingbird tattoo can symbolize such independent freedom.
Not all of Alice's photographers were as honest as Makar, and the hummingbird tattoo is nearly always deleted in post-production. For example, Vadim Rigin removed it (but preserved the shoulder tattoo) after photographing Alice for the series entitled, 'Break'. Rigin also photographed her in, 'Red Velvet', published in three series by Erotic Beauty, and in all of these pictures, he deleted both tattoos.
One of the most famous tattoos in crux -
occupies the left shoulder blade of Alice Kiss. This tattoo is generally referred to as a 'Chinese character', although Maha Shiva's first impression was that it appears to be Sanskrit. He later suggested that it might be an extremely stylised version of the Chinese symbol meaning, 'Poison'. In tattoo art, the Poison symbol carries associated meanings of 'harsh' and 'tough'. I am speculating, but it might just be the kind of tattoo you get in Moscow, if you ask for a Chinese character indicating a tough, no-nonsense, independent persona.
Alice's second tattoo is even more impressive, but is rarely seen. It occupies a large area of her lower back and tends not to have been appreciated by her photographers, who generally airbrushed it out of her modelling shoots. It appears to be a creature with a long beak and wings. The best image of this tattoo was photographed by Makar during the filming of 'Alice and Koshka in the Crux Forrest', and ironically the tattoo appears in an extremely rare picture of Alice fully clothed! Makar's pictures are always honest images, which are almost never Photoshopped - what you see is what you get. My impression is that Alice has a large humming bird on her back.
The hummingbird tattoo is considered to be a popular mainstream tattoo for women. A unique and graceful bird, able to fly in all directions, even backwards and upside down, up to 25 miles per hour, it eats fifty times a day due to its constant burning of energy. Because the hummingbird is so small, it has to work hard to survive. A tattoo of a hummingbird can represent such adversity and be meaningful to a person who has been through a lot in life. It symbolises the strength to rise above trouble and hardship.
It is emblematic of going through hard times and surpassing them, representing someone who lives life to the full. The tattoo represents energy, hard work, and unfailing effort. Other meanings include, love, joy, hope, life and peace. Although the hummingbird is often associated with attraction and affection, it is a lone traveller, an independent bird which spends most of its time alone. The hummingbird tattoo can symbolize such independent freedom.
Not all of Alice's photographers were as honest as Makar, and the hummingbird tattoo is nearly always deleted in post-production. For example, Vadim Rigin removed it (but preserved the shoulder tattoo) after photographing Alice for the series entitled, 'Break'. Rigin also photographed her in, 'Red Velvet', published in three series by Erotic Beauty, and in all of these pictures, he deleted both tattoos.
Pretty sure it's not Sanskrit (Devanagari script) - the lower part could be a fancy form, but the upper is surely Chinese or related.
bobinder
ARTISAN
Thanks Heliogabalus - I do not recall seeing that one before. It is an interesting manipulation, and not simply the addition of a bonfire to Makar's original image.
The area above the stake has background elements repeated in cut-and-paste to conceal the original tree (although its disembodied branches remain visible) and the right side of the bonfire has been copied, reversed and pasted from the left side. The image might have been created without Photoshop.
We have only a handful of Alice BATS manips in this thread, and most of them are unidentified. If you find any more, please post them, thank you.
It is a very effective and striking manip. The pose works extremely well. I'm not sure I would actually light Alice on fire
, but the manip works.
bobinder
ARTISAN
Indeed, it has a sense of the dramatic as well as the destructive.It is a very effective and striking manip. The pose works extremely well. I'm not sure I would actually light Alice on fire
Never having attempted a BATS manipulation, I am arguably not well qualified to judge them. I have done a BATS drawing, in which the flames are uplighting the figure from below.
I have seen many BATS manips in which the source figure is lit from above, and the roaring flames cast no light from below whilst producing very little smoke. They certainly present a challenge in terms of lighting and smoke effects.
For this reason, I think many of the best BATS manips are usually pre-ignition scenes.
bobinder
ARTISAN
Upwards of a dozen crux stars feature in this Julie & Melissa manip of a mass roadside crucifixion, in which the costumes worn by the male figures indicate the ancient Roman period. There are eight Makar models, including Marina (kneeling, centre foreground) Mila, Ulia and Alice (fifth from left.) In addition to the Cruxdreams contingent, Orchid Studios is represented by Oliya (third from left.) An Arcimboldo figure makes an appearance (third from right) and on the far right is Krista Kass. Incidentally, Marina has acquired a patibulum more in keeping with the Roman period than her original.
It is always challenging to produce a multi-figure composition with consistent lighting and perspective, especially in a scene which contains such a deep progression from a close-up foreground to the distant background, which we see here. This ambitious picture has been successfully constructed by using a scene which relies on natural, ambient lighting, and great care has been taken with the overall colouring, to ensure that figures from different sources work together and blend into the scene with a sense of visual unity.
It would be easy for the colour of the stonework to swamp the flesh tones, but each figure retains its definition, placed in front of the walls and columns. Alice and Mila seem to be competing, side by side, for the deepest thrust away from the cross. They appear in low resolution, as small components in the distance of a spectacular scene, and I have made a rather cruel enlargement of Alice for comparison with the Makar source image. The figure has been reversed and lightened for placing in the distance.
This is only the fourth manipulation in a large body of work by J&M in which I have discovered Alice, and it is altogether highly accomplished. Well done, Julie & Melissa!
It is always challenging to produce a multi-figure composition with consistent lighting and perspective, especially in a scene which contains such a deep progression from a close-up foreground to the distant background, which we see here. This ambitious picture has been successfully constructed by using a scene which relies on natural, ambient lighting, and great care has been taken with the overall colouring, to ensure that figures from different sources work together and blend into the scene with a sense of visual unity.
It would be easy for the colour of the stonework to swamp the flesh tones, but each figure retains its definition, placed in front of the walls and columns. Alice and Mila seem to be competing, side by side, for the deepest thrust away from the cross. They appear in low resolution, as small components in the distance of a spectacular scene, and I have made a rather cruel enlargement of Alice for comparison with the Makar source image. The figure has been reversed and lightened for placing in the distance.
This is only the fourth manipulation in a large body of work by J&M in which I have discovered Alice, and it is altogether highly accomplished. Well done, Julie & Melissa!
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Yes, indeed! And thank you, Bob, for reminding us of this incredible composition!
bobinder
ARTISAN
Alice and The Serpent's Eye
I have noted previously that Jedakk made a detailed study of several Makar models, including Erica, Lena, Julia and Alice, for his illustrations to 'The Serpent's Eye'. In February 2016, he acknowledged Alice's contribution to the realistic posing of his 3-D crux figures -
'Alice was the best, a shapely little waif who decorated a cross very nicely. I thought Erika was maybe number two. I used them both as references when creating Poser scenes... One of the qualities that made Alice such an appealing cruxee was her ability to emote. No doubt hanging roped to a cross as she was could have been painful and not something she might have looked forward to doing. Weighing about 90 pounds* probably made it a lot more tolerable, but Alice managed to portray her part better than most. She was a pretty good actress.'
What I had not appreciated in my earlier post was the fact that Jedakk has also employed Alice directly in photo manipulations. On 15 December 2009, Apostate reflected, 'I thought the composition of saintjohny's "Runaway Slave" was very like several scenes in Jedakk's story 'The Serpent's Eye.''
Apostate drew Jedakk's attention to saintjohny's picture (#1) whereupon Jedakk re-manipulated the original figures into two versions of a crux scene derived from 'The Serpent's Eye' (#2, #3.) Whilst he considered the results to be imperfect, explaining, 'I don't have time to remove the ropes and replace them with nails,' in my opinion Jedakk has made a very successful blend of photographic and 3-D elements. Certainly the figure of Alice fits in very well, even if the pictures are unfinished in terms of lighting adjustments and shadows.
His manipulations reflect the confrontation between the crucified Sabina and her mistress, Julia Lepida, in his remarkable story, which is profusely illustrated entirely by 3-D images. Consequently these Jedakk manips do not appear in 'The Serpent's Eye', although some of the background elements were used. As experiments featuring Alice, the pictures present highly dramatic mass crucifixion scenes, Apostate observing, 'they relocate the scene from saintjohny's pastoral landscape to the sessorium of ancient Rome, the vast killing field outside the city walls.'
Interestingly, Alice is not the only Makar model to have appeared in the role of Jedakk's Sabina - Steve Cordero also produced a digital drawing of Sabina, based on Jane.
* Alice's weight was about 112 pounds.
I have noted previously that Jedakk made a detailed study of several Makar models, including Erica, Lena, Julia and Alice, for his illustrations to 'The Serpent's Eye'. In February 2016, he acknowledged Alice's contribution to the realistic posing of his 3-D crux figures -
'Alice was the best, a shapely little waif who decorated a cross very nicely. I thought Erika was maybe number two. I used them both as references when creating Poser scenes... One of the qualities that made Alice such an appealing cruxee was her ability to emote. No doubt hanging roped to a cross as she was could have been painful and not something she might have looked forward to doing. Weighing about 90 pounds* probably made it a lot more tolerable, but Alice managed to portray her part better than most. She was a pretty good actress.'
What I had not appreciated in my earlier post was the fact that Jedakk has also employed Alice directly in photo manipulations. On 15 December 2009, Apostate reflected, 'I thought the composition of saintjohny's "Runaway Slave" was very like several scenes in Jedakk's story 'The Serpent's Eye.''
Apostate drew Jedakk's attention to saintjohny's picture (#1) whereupon Jedakk re-manipulated the original figures into two versions of a crux scene derived from 'The Serpent's Eye' (#2, #3.) Whilst he considered the results to be imperfect, explaining, 'I don't have time to remove the ropes and replace them with nails,' in my opinion Jedakk has made a very successful blend of photographic and 3-D elements. Certainly the figure of Alice fits in very well, even if the pictures are unfinished in terms of lighting adjustments and shadows.
His manipulations reflect the confrontation between the crucified Sabina and her mistress, Julia Lepida, in his remarkable story, which is profusely illustrated entirely by 3-D images. Consequently these Jedakk manips do not appear in 'The Serpent's Eye', although some of the background elements were used. As experiments featuring Alice, the pictures present highly dramatic mass crucifixion scenes, Apostate observing, 'they relocate the scene from saintjohny's pastoral landscape to the sessorium of ancient Rome, the vast killing field outside the city walls.'
Interestingly, Alice is not the only Makar model to have appeared in the role of Jedakk's Sabina - Steve Cordero also produced a digital drawing of Sabina, based on Jane.
* Alice's weight was about 112 pounds.
bobinder
ARTISAN
Cliff Hanger
The only Femjoy video of Alice is the three-minute 'Cliff Hanger', which was filmed as part of Valery Anzilov's Crimean coast sessions. 'Cliff Hanger' was published on 14 July 2008, although it was filmed just over a year previously, and predates Cruxdreams' 'Alice and Koshka in the Crux Forrest' by a few short weeks. The filming is variously attributed to Valery Anzilov and Peter Astenov, which suggests it might have been a team effort.
Alice (always presented as 'Ondine' by Femjoy) appears comfortable and relaxed as she poses in the sunshine on the rocks somewhere between the foot of Mount Koshka and Swan's Rock, not far from the coastal town of Simeiz. Critics have expressed some disappointment regarding the apparent lack of action by Alice, but this overlooks the simple fact that the film is a charming piece of erotica, without strong sexual overtones (apart from some blatant zooming-in on the genital region.)
Anzilov is a master of the erotic nude in the natural environment, and his familiarity with the attractive scenery around Ay Petri guarantees a perfect contrast between scenic natural beauty and the female form. If Alice's performance is static, this probably reflects Anzilov's directions as a stills photographer. She does, however, provide some attractive stretches as a precursor to her crucifixion a month later.
Alice's enjoyment of the experience seems evident in her cheerful disposition and seductive posing, and whilst we can only speculate about the musical direction, the choice of, 'I Think I'm in Love With You', seems rather appropriate. The link goes to a Russian site where the video can be played online in good quality, and enlarged to full screen. My security filters prevented downloading, so if anyone knows of a safe, free, downloadable version of the video, please do tell.
https://www.24video.adult/video/view/1586476
The only Femjoy video of Alice is the three-minute 'Cliff Hanger', which was filmed as part of Valery Anzilov's Crimean coast sessions. 'Cliff Hanger' was published on 14 July 2008, although it was filmed just over a year previously, and predates Cruxdreams' 'Alice and Koshka in the Crux Forrest' by a few short weeks. The filming is variously attributed to Valery Anzilov and Peter Astenov, which suggests it might have been a team effort.
Alice (always presented as 'Ondine' by Femjoy) appears comfortable and relaxed as she poses in the sunshine on the rocks somewhere between the foot of Mount Koshka and Swan's Rock, not far from the coastal town of Simeiz. Critics have expressed some disappointment regarding the apparent lack of action by Alice, but this overlooks the simple fact that the film is a charming piece of erotica, without strong sexual overtones (apart from some blatant zooming-in on the genital region.)
Anzilov is a master of the erotic nude in the natural environment, and his familiarity with the attractive scenery around Ay Petri guarantees a perfect contrast between scenic natural beauty and the female form. If Alice's performance is static, this probably reflects Anzilov's directions as a stills photographer. She does, however, provide some attractive stretches as a precursor to her crucifixion a month later.
Alice's enjoyment of the experience seems evident in her cheerful disposition and seductive posing, and whilst we can only speculate about the musical direction, the choice of, 'I Think I'm in Love With You', seems rather appropriate. The link goes to a Russian site where the video can be played online in good quality, and enlarged to full screen. My security filters prevented downloading, so if anyone knows of a safe, free, downloadable version of the video, please do tell.
https://www.24video.adult/video/view/1586476
KvK
Tribune
She looks like such a sweetheart. I bet she was the type to ask the bondagemaster to hold up on tying her last wrist to the cross just to playfully blow the photographer a kiss.
downloadable version of the video
#https://drive.google.com/open?id=0B9KVtc0FSyZeUFhpVFNocWFkMnM
#https://drive.google.com/open?id=0B9KVtc0FSyZeUFhpVFNocWFkMnM
bobinder
ARTISAN
Thanks Madi - that is fantastic!
Well done, and greatly appreciated. Thank you very much.
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