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Fantasyland: Elves, Faes, Fawnes, Warrioress.
- Thread starter ascanio
- Start date
ascanio
Sculptor
She have eated it but cannot escape!where's the cheese? you'll need some grana padano if you want to catch me in your trap!
(not grana padano but parmigiano reggiano it's better)
Fawne in the forest:
Naraku
Draconarius
Amazing works, Ascanio!
I think it's interesting that you consider yourself a "sculptor". Must people who work with 3D probably think of themselves as "painters", Perhaps this leads them to think in 2D terms, layering paints to creat an illusion of 3 deminsions. By thinking like a sculptor, you treat your subjects as 3 deminsional objects being sharped into a desired form. The results are much more realistic.
I think it's interesting that you consider yourself a "sculptor". Must people who work with 3D probably think of themselves as "painters", Perhaps this leads them to think in 2D terms, layering paints to creat an illusion of 3 deminsions. By thinking like a sculptor, you treat your subjects as 3 deminsional objects being sharped into a desired form. The results are much more realistic.
Yupar
Regina Iudaeorum
Pitiful mouse
ascanio
Sculptor
Thanks Naraku, I think always in 3d and I build also stereoscopic anaglyph images, but they are not so appreciate by people
ascanio
Sculptor
The picture is done with all 3D objects, the ship, the moon is a sphere, the sky is a dome, the stars are a second dome, the moon glow is a curved surface sourronding moon, the clouds are placed over a transparent curved surface, the waves are a transparent surface with ripples and reflections.
ascanio
Sculptor
completely agree
ascanio
Sculptor
Thanks Eulalia, the first on second row (other) is a fantasy on olography, the little model in the sphere near the camera seams as a ologram of the model 'olographed'
Here a new
Atena:
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Yupar
Regina Iudaeorum
I think u mean Athena
it is his girlI think u mean Athena
ascanio
Sculptor
Ἀθηνᾶ
L'iconografia classica di Atena prevede che sia ritratta in piedi mentre indossa l'armatura e l'elmo, tenuto alto sulla fronte; porta con sé una lancia e uno scudo sul quale è fissata la testa della Gorgone Medusa. Proprio in questa posizione è stata scolpita da Fidia nella sua famosa statua crisoelefantina[17], alta 11 metri – ora perduta – l'Athena Parthenos che si trovava nel Partenone. Spesso, poggiata sulla sua spalla, si trova la civetta, simbolo di saggezza.
A prescindere dagli attributi tipici, a partire dal V secolo a.C. sembra esserci stata una sostanziale uniformità di vedute tra gli artisti su quale dovesse essere l'aspetto della dea. Un naso importante con un alto ponte che sembra essere la naturale continuazione della fronte, occhi profondi, labbra piene, una bocca stretta e appena più larga del naso, il collo allungato ne tratteggiano una bellezza serena ma un po' distaccata.
Classically, Athena is portrayed wearing a full- length chiton, and sometimes in armor, with her helmet raised high on the forehead to reveal the image of Nike. Her shield bears at its centre the aegis with the head of the gorgon (gorgoneion) in the center and snakes around the edge. It is in this standing posture that she was depicted in Phidias's famous lost gold and ivory statue of her, 36 m tall (*)!!!, the Athena Parthenos in the Parthenon. Athena also often is depicted with an owl sitting on one of her shoulders.[50]
The Mourning Athena is a relief sculpture that dates around 460 BC and portrays a weary Athena resting on a staff. In earlier, archaic portraits of Athena in Black-figure pottery, the goddess retains some of her Minoan-Mycenaean character, such as great bird wings although this is not true of archaic sculpture such as those of Aphaean Athena, where Athena has subsumed an earlier, invisibly numinous—Aphaea—goddess with Cretan connections in her mythos.
Apart from her attributes, there seems to be a relative consensus in late sculpture from the Classical period, the 5th century onward, as to what Athena looked like. Most noticeable in the face is perhaps the full round strong, chin with a high nose that has a high bridge as a natural extension of the forehead. The eyes typically are somewhat deeply set. The unsmiling lips are usually full, but the mouth is depicted fairly narrow, usually just slightly wider than the nose. The neck is somewhat long. The net result is a serene, serious, somewhat aloof, and very classical beauty.
(*)!!! it's an error in the english text was tall only 11 m (probably 36 feet not meters)
L'iconografia classica di Atena prevede che sia ritratta in piedi mentre indossa l'armatura e l'elmo, tenuto alto sulla fronte; porta con sé una lancia e uno scudo sul quale è fissata la testa della Gorgone Medusa. Proprio in questa posizione è stata scolpita da Fidia nella sua famosa statua crisoelefantina[17], alta 11 metri – ora perduta – l'Athena Parthenos che si trovava nel Partenone. Spesso, poggiata sulla sua spalla, si trova la civetta, simbolo di saggezza.
A prescindere dagli attributi tipici, a partire dal V secolo a.C. sembra esserci stata una sostanziale uniformità di vedute tra gli artisti su quale dovesse essere l'aspetto della dea. Un naso importante con un alto ponte che sembra essere la naturale continuazione della fronte, occhi profondi, labbra piene, una bocca stretta e appena più larga del naso, il collo allungato ne tratteggiano una bellezza serena ma un po' distaccata.
Classically, Athena is portrayed wearing a full- length chiton, and sometimes in armor, with her helmet raised high on the forehead to reveal the image of Nike. Her shield bears at its centre the aegis with the head of the gorgon (gorgoneion) in the center and snakes around the edge. It is in this standing posture that she was depicted in Phidias's famous lost gold and ivory statue of her, 36 m tall (*)!!!, the Athena Parthenos in the Parthenon. Athena also often is depicted with an owl sitting on one of her shoulders.[50]
The Mourning Athena is a relief sculpture that dates around 460 BC and portrays a weary Athena resting on a staff. In earlier, archaic portraits of Athena in Black-figure pottery, the goddess retains some of her Minoan-Mycenaean character, such as great bird wings although this is not true of archaic sculpture such as those of Aphaean Athena, where Athena has subsumed an earlier, invisibly numinous—Aphaea—goddess with Cretan connections in her mythos.
Apart from her attributes, there seems to be a relative consensus in late sculpture from the Classical period, the 5th century onward, as to what Athena looked like. Most noticeable in the face is perhaps the full round strong, chin with a high nose that has a high bridge as a natural extension of the forehead. The eyes typically are somewhat deeply set. The unsmiling lips are usually full, but the mouth is depicted fairly narrow, usually just slightly wider than the nose. The neck is somewhat long. The net result is a serene, serious, somewhat aloof, and very classical beauty.
(*)!!! it's an error in the english text was tall only 11 m (probably 36 feet not meters)
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ascanio
Sculptor
In Greek mythology, Callisto or Kallisto (/kəˈlɪstoʊ/; Greek: Καλλιστώ [kallisˈtɔː]
Il nome "Callisto", che in greco significa "la bellissima" (kallistè), è un appellativo sacro di Artemide (in Arcadia esisteva un tempio ad "Artemide Kallisté"). In altre parole, Callisto è Artemide.
Quello di Callisto è l'unico mito greco che contenga una seduzione omosessuale fra due donne. Ciò si deve probabilmente al fatto di essere l'unica traccia sopravvissuta di un antichissimo rito arcaico di iniziazione (omo) sessuale fra una donna adulta e una ragazza.
The name "Callisto", which in greek means "the beautiful" (Kallistè), is a sacred epithet of Artemis (in Arcadia there was a temple to "Artemis Kallisté"). In other words, Callisto is Artemis.
Callisto is one of the only greek myth that contains a homosexual seduction between two women. This is probably due to the fact of being the only surviving trace of an ancient archaic rite of initiation (homo) sex between an adult woman and a girl.
Expressly made for Eulalia.....
Il nome "Callisto", che in greco significa "la bellissima" (kallistè), è un appellativo sacro di Artemide (in Arcadia esisteva un tempio ad "Artemide Kallisté"). In altre parole, Callisto è Artemide.
Quello di Callisto è l'unico mito greco che contenga una seduzione omosessuale fra due donne. Ciò si deve probabilmente al fatto di essere l'unica traccia sopravvissuta di un antichissimo rito arcaico di iniziazione (omo) sessuale fra una donna adulta e una ragazza.
The name "Callisto", which in greek means "the beautiful" (Kallistè), is a sacred epithet of Artemis (in Arcadia there was a temple to "Artemis Kallisté"). In other words, Callisto is Artemis.
Callisto is one of the only greek myth that contains a homosexual seduction between two women. This is probably due to the fact of being the only surviving trace of an ancient archaic rite of initiation (homo) sex between an adult woman and a girl.
Expressly made for Eulalia.....
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