That is actually pretty much what he looks like now in the comics. After the whole "No Man's Land" situation he went back to the basics.

Suggestions Do some magnet work or morph work to lose definition on her chin, cheeks, leg muscles and arm muscles a bit and puff them slightly more. She really should have a bit of a pot belly and there are some morphs which do this job for you on Morph world I think called the rubinesque morphs. Try using a blend of both scaling and the morphs and it might work better for you. Her head may be a little TOO scaled down. You may want to take it up a little and also, you may want to make the UPPER CHEST ONLY a little less wide by a few percent (Maybe 5%) Fat is mainly water, think of it as plastic bags full of water. Areas that collect fat should sag a little more than usual and should be pronounced. On a woman, these areas are (in order that they collect fat): Thighs, belly, breasts and upper body, neck, face and upper limbs (thigh and shoulder) and then extremities. This is from basic anatomy classes for artists I took in college Hope this helps. Richard Kane

Suggestion... More ground clutter. Small rocks and dying weeds. More details. Cracks in the tombstones and a dirty film gradually receeding the higher from the ground the tombstone rises. Also, most cemetaries sell plots so the tombstones and markers might need to line up in rows . Details mean a lot. smile No cemetary is in the middle of nowehere. In the distance a church and a line of trees barely visible would help and perhaps a crypt or two in the background. Maybe a few iron fences here and there to cordon off plots. The bend in the floating female figure looks a bit static. You may want to turn her on her side so her front faces us and use the twist and side-side on her abdomen and upper body. Look at a few super-hero in flight poses and you should be able to find a nice one. It may help you as an artist to ask some of the following questions when you look at a piece of yours. Its something I got from the most recent edition of the Artists magazine (Feb 2000) and modified for my own use. These questions really help me a lot: What parts of the image work? Can you define or describe all the aspects of your image? Is there a strong center of interest? Is there more than one center of interest and do they work well together or against each other? Are the elements in your image compelling, exciting, thought provoking or emotionally provoking? Did you use the medium (i.e. Poser, Bryce, etc) wisely? Is the image too busy? Were you consistent? If you had to delete or change something in the image what would it be and why? Would it be worth it to you to do so and would it truly make the image better? I like taking breaks from my work periodically and then, when I come back after an hour or so, I sit down and ask these questions like a checklist. Eventually you get to the point where you know the answers intuitively and make changes as you go. Try it out. smile

Sounds like a good solution, actually.

Yep, what he said. If you bought the computer and the software didn't come with it, that is actually piracy. Sorry.

One thing, is hair usually grows at the same rate. You would not have as many extraneous strands of hair unless she had a vitamin deficiency or the hair is cut that way. If its cut that way, then at least ten or twelve hairs will acompany it. Hairs also usually conform to the hairs next to them to some degree as elongated pliable cylinders are want to do when under the effects of gravity. Again, there are exceptions in the case of vitamin deficiency or curl or kink but even then, the hair would closely conform to the hairs next to it. Try thinking of hair as a thick congrous unit first then add the texture map keeping in mind that the hair should be nearly (but not quite) the same attitude as the hair next to it and should be roughly the same length unless cut differently for a reason. I suggest getting a fashion magazine and clipping pictures of the hair you like and want to copy. Nothing beats photo reference right there in front of you when you are trying to pull off an effect. Memory is imperfect and having the photo in front of you helps immeasurably. Hope this helps.

Speaking of which, could someone please make a pair of PRACTICAL medieval boots for the P4 Woman? JEESH. She's going to get shin splints running asround in heels all the time.

In their defense, they are doing a lot for the artists. Without them, you would have to get your own tax ID number, set up credit card payment for a business (which is pretty hard) and are providing space for the artists. All in all, both artist and broker benefit. The broker benefits by having a steady income and the artist benefits by having more time to spend on creating things (and no, I am an artist, not a business owner.smile)

And one more thing. What program are you rendering these guys in? If its something I have, I wouoldn't mind a tutorial. smile Cause I can't get NUTTIN to turn out looking that good in render.

Loveable rogue, yes, but if he were to look concerned instead of happy in that picture, I think nobility would shine through. Two characters in one WITH THE SAME FACE! Amazing! smile You are really doing an awesome job, James. Keep up the good work...er...play....er...whatever, just keep it up! smile Richard Kane P.S. Would you be interested in 100 slightly organized facial morphs for the p4Male?

I have to say I agree. You could have the "Demonic Temple" Collection with the above props, maybe the same props but elongated, and an altar or something. Something to rescue a damsel in distress from. smile I would love to see more high quality collections with a common theme and would bring out the cred card for said collections.

Well, while we're at it. How about the quad screen being an option or at least multiple (like two) veiwing areas, resizable camera controls (so I can make them tiny for more screen space), camera gels, light filters (with transmaps, can they be far behind?), atmospherics (smoke, fire, etc), how about when you double click on a morph it has the delete option on it, how about a "Make all visible" button, How about when we double click on the title of the limb or object in the menu it brings up the window to add morphs and what not rather than having to hunt for it on the screen when it might be inconvenient and we have already selected the item but HAVE to double click it to bring up the window, how about having a function for sending a morph to another figure like morph manager can do only without having to open Morph Manger, what about telling Poser to take a morph from a similar model INSIDE the program, how about the business and casual clothes being made available as clothes instead of separate figures, ... How about I shut up while I'mn ahead. smile I love Poser and these are just suggestions that would make my life easier but with the current situation at Metacreations, I'm grateful for what I have. If a rich person, however, is listening to this list. Please buy the program for us, put these changes in, give Larry and Steve and the guys a raise, give konan enough money to make his plugin, and have a Merry Christmas. God bless us, every one. Yes, this is far too much caffienne for me to be drinking at this time of night....definately. Richard "Caffiend" Kane

And also, to make Aragorn look a little more noble, consider a roman nose. One with a bit of a hump and slightly turned down.

AWESOME job on the figures, James. The job you have done is truly noteworthy. Especially the hair trans maps (I hope ya share 'em soon.) Just a suggestion, Gimli's hands, fingers and feet could be widened by about 15% and thickened by about 10% and that should help them look a lot less delicate.

AofD, You are the man! I would love to have the business suit and tuxedo done for this figure. I'll send him to you the minute he is done directly. Richard Kane