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:iconwinglei:
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Partial suit nearing completion.
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Sheila as Karliah (Nightingale Armor) from the Elder Scrolls: Skyrim

Stunning photos by :iconordinaryriches:

I'm going to try and make this description without any arrow in the knee or sweetroll jokes. XD

It feels good to put up photos of this costume. Definitely one of our bigger projects and one of the most exciting. And my first experience with full covering face paint.

The entire 'leatherwork' of the armor is actually all just craft foam. If you want to find out the in depth process on how it was made, click here: [link]

There will definitely will be much more to come for this costume! See you at Phoenix ComiCon & Anime Expo!



:star:
EDIT: Oh my gosh we got a Daily Deviation!! THATS INCREDIBLE! Thanks you so much! That really but a leap in our confidence! THANK YOU EVERYONE!
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Sheila as Karliah (Nightingale Armor) from the Elder Scrolls: Skyrim

Stunning photos by :iconordinaryriches:

I'm going to try and make this description without any arrow in the knee or sweetroll jokes. XD

It feels good to put up photos of this costume. Definitely one of our bigger projects and one of the most exciting. And my first experience with full covering face paint.

The entire 'leatherwork' of the armor is actually all just craft foam. If you want to find out the in depth process on how it was made, click here: [link]

There will definitely will be much more to come for this costume! See you at Phoenix ComiCon & Anime Expo!

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Sheila as Karliah (Nightingale Armor) from the Elder Scrolls: Skyrim

Stunning photos by :iconordinaryriches:

I'm going to try and make this description without any arrow in the knee or sweetroll jokes. XD

It feels good to put up photos of this costume. Definitely one of our bigger projects and one of the most exciting. And my first experience with full covering face paint.

The entire 'leatherwork' of the armor is actually all just craft foam. If you want to find out the in depth process on how it was made, click here: [link]

There will definitely will be much more to come for this costume! See you at Phoenix ComiCon & Anime Expo!

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Skyrim
:iconbloodymoony:
Collection by
with my friend spawn ^^
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Full test
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thanks to Gianluca Bini
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Swords bases
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Back and swords
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Featured
:iconmuffym:
Collection by
FINISHED!!!!! See here! nephtis.deviantart.com/art/Nig…

I discovered Worbla's finest art recently.

Here is my current project, I plan to do the Nightingale armor from Skyrim. The side parts will be vegi leather.
Thanks a lot to Kamui for her Armor tutorial(s) www.kamuicosplay.com/tutorials

This will be a scale armor kind of outfit and the scales will be attached flexibly.

Next: Smooth, primer and base color
Long term: Sewing! I will need a cape, and the leather parts of my armor.
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Well here is the start of my armor for Karliah from Skyrim in her Nightingale armor.

Its all craft foam, 2mm and hot glue is used where the black lines are, the lower half has not had its detailing glued together yet.
It is still yet to be painted and some parts are only sticked on with tape for the moment.
Ignore the thicker black lines, that's where I made some errors, but they will not be noticeable once painted.

Arm armor has been made, but the mannequin does not have arms so..anyway haha

1st of 3, for my group Skyrim group of the Nightingales: Karliah, Brynjolf and the Dragonborn.
I'll be making all three, two female and one male. Fun times ahead haha ^.^
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Please Note: This costume has been completed. This photo was removed from my shared account with my fiancee to feature here in my portfolio. I left the description the same as it was on the previous account. To see the finished costume, visit my shared account with my fiancee: *Piperonni

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A furthered work in progress shot.

There are still many things that need to be fixed, tweaked, and altered. For example, the shirt needs to be taken in a bit to fit Pip more snugly. The pants will overall be tightened to accommodate boots and armor that will cover the thighs. The cloak needs to be hemmed, and the leather 'hood ornament' needs to be detailed and dyed. It's dark in the photo due to some minor/temporary wet-shaping I did, which needs to be redone. This should correct the hood's shape to give it more of a Nightingale look. I also know that a certain part of the armor appears to be awkward looking, and that is because an ornamental piece will be covering that area, so I've left room for that accommodation.

I'm overall happy with the progress that I am making. Currently this costume is sitting at 65%.

Cheers!

Work done by myself
Model is Pip
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Please Note: This costume has been completed. This photo was removed from my shared account with my fiancee to feature here in my portfolio. I left the description the same as it was on the previous account. To see the finished costume, visit my shared account with my fiancee: *Piperonni

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Did a bit more water shaping today. Still have a ton of trimming and refining to do on most of the armor. Might redo where the buckle is as far as the under-skirt is concerned in order for the "butt-flap" to have proper placement. So far I am happy with where it is going.

After the body is complete, I'm going to work on the pants, then the boot covers, and finish off with the gauntlets. The mask will be completed along with the hooded cloak.

I'm going to try and make a sword in time for AWA. If not, then I have some scimitars that I can use. Eventually I would like to make the Nightingale bow.

Work done by myself.
Model is Pip
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Please Note: This costume has been completed. This photo was removed from my shared account with my fiancee to feature here in my portfolio. I left the description the same as it was on the previous account. To see the finished costume, visit my shared account with my fiancee: Piperonni

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EDIT: Wow! I just smacked my forehead. I cannot believe I did that. Two of the front panels are backwards. They should each be on the opposite's side. Fixing that right now. Next update, they will be where they should.

I've got about 10 or so days left until AWA. This is definitely a costume I never thought would get made, especially out of leather. Keeping my fingers crossed. I just hope the end product looks as fantastic as the progress.

All that's left is to dye the remaining pieces, finishing detailing a few pieces, add the embellishment in the stomach region (that blank area), finish the boots, finish the leg armor, adjust the hood, and try to complete a sword in time for the convention.

Wish me luck!

Work done by myself
Pip as model
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Fabrications
:iconinvisaho:
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Blades made for order for Red Card Katarina. How do you like it?
More my works here - Hella A.
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Bustier elfique créa sur mesure
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Steampunk bustier made of strips of leather riveted together.
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My New dA ID! This is me with my keyblades and buster sword :)
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Follow Firefly Path costuming & make-up on Facebook - www.facebook.com/FireflyPath
Custom order for a bronze medallion circlet that holds a dark purple crystal at the forehead. Gold-leafed ram horns are decorated with chains that hang from each horn like earrings.
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:icondaedricmarquess:
Collection by
Shot by Francesco Ambuchi [link]
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Thank to Carré & Kawaii Photographie for this awesome shot!
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Armor Daedric form Skyrim =)
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Daedric armor form Skyrim ^^

Made by me =)
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:icontekkidoe:
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How to make a Cosplay Sword 3

part 1 part2
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How to make a Cosplay Sword part 2


The secound part of the sword tutorial. The third one is following soon!

Part 1 part 3
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"How to make a Cosplay Sword Part 1"

I promised to do that:

A tutorial for making a sword like my master sword or the new red one, "Yug Verund" for my Prince Valdrigue Cosplay.

I know, most of you would have liked to see the tutorial done step by step with pictre of my Master Sword, but I have none. So this will have to do: the pictures of the WIP from "Yug Verund".

Acrylic Board:
I found out, that this stuff is called Forex Foam Bord ... it seems that the people from my craftstore did not know that ;)

This is the first part, the other(s) will follow soon! ^_^

Part 2 Part 3
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If you'd like to build this file just hit the download link. I'll warn you though, this isn't a "build in a day" kind of project ;)

Edit: I made this file before I started adding flaps to all my pep files, but due to the overwhelming interest in this particular file I've gone back and added them.

If you'd like to download this and the other daedric items go here: kuraudo3.deviantart.com/art/Fu…
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Shizuo Heiwajima from Durarara!!

If you see this, let me know who you are so I can credit you!
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:iconzero-125:
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Test fitting the almost completed master pauldron for one of Imperius' shoulders. Pretty soon I'll get to cast this bad boy and make 4 more!
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The helmet, completed! I'm about to take it down to the shop and put it through 1000 years of demon fighting (gonna get it a bit dirty), but I wanted to put it up here while it still shines like the goddamn sun. Made almost entirely out of Sintra (XPVC) plastic, in fact the only part that is not is a little apoxie sculpt around the eyebrows. Weighs less then 2lbs~

This was by far the most challenging piece of the armor so far, but I think it turned out pretty good! See you guys at Blizzcon!
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charcoal drawing of eren
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This was just completely random. I was doodling last night while I was procrastinating on my visual novel and It began as a doodle of Soren Kazeren, my original character. So since this piece is actually kind of symbolic of his character, and actually representative of him, I thought Id take a moment to talk about him since I never do.

In my original story, Return: To the Valley, Soren is the main character despite my entire being talking about Light. I often over look Soren when I talk about my story, but I had most of my fun creating this story because of him. I find him to be a very real character despite being reclusive. That fact that he was born with a set fate that he can't escape no matter what he does and the fact that he makes mistakes along the way no matter how bad those mistakes were. This image in my mind represents the Soren that is developed at the beginning of my story, and the Soren that eventually comes out at the end. 

I wanted to finish this piece as something concrete with lines and layers that made sense, but in the end I decided to go against it. Not only to experiment with things, but because it wouldn't of looked so loose with the hard lines around it. The blurb at the bottom are lyrics from the song Unravel, the opening song from Tokyo Ghoul except from the translated version sung by AmaLee. I thought the lyrics fit the picture... and Soren himself. 

When I was doodling this, everything came together piece after piece. I originally wanted the water to look more like darkness he was slowly falling into, but than I kept dabbling around and it just became water. Like I don't even know man...

But anyways ~ I never draw Soren so this was something nice and different.
Hopefully I can draw my characters more. 
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:iconattackonaobasass:
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crunch crunch crunch, yum yum yum yum !
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February 2015 in Helsinki
Finland

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© COPYRIGHT
The work contained in my gallery is copyrighted. My work is not stock and it may not be reproduced,
copied, edited, published, transmitted or uploaded in any way without my written permission.
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:iconryky:       
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Richard figured he'd have eyes similar to cuddlefish so here ya go c:
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The wait is finally over! For months I said I was going to do this tutorial, and now you finally have it! This is how I made San's mask from Princess Mononoke. Hope you all enjoy it and let me know if you have any questions!

Also available on etsy for purchase! www.etsy.com/listing/97293590/…

Edit: I actually only do eight layers of paper mache now a days, it makes it so it's lighter but still strong. I also cut the eyes out before I put the paper clay on, just make sure the mache is dry and it's a lot easier than fussing with power drills and whatnot. Also, always cover your foam with plastic, either plastic sheeting or just a old grocery bag. If you don't it is a absolute pain to get the paper mache off the foam and you may destroy the foam just to get it off.
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Featured
:iconmoosebite:
Collection by
Promo for Gymrat Xtreme.
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I've updated and corrected this article based on DAZ's documentation.  You should read that if you want more information.  This will continue to be more of a "plain talk" breakdown.

Let us begin with the different types of shaders from the "Base Mixing" dropdown at the top.  Choosing one of these will hide or gray out some options and reveal others.

The Iray shader behaves as though it has three layers: The "base" layer, the "metallic flakes" layer on top of that, and the "top coat layer" on top of that.  It is possible to turn off the top two layers and not use their settings, but the ability to use them is a property this shader has that 3Delight did not.  This makes using shaders made for Iray very important when rendering to get the best look in Iray!


PBR Metallicity/Roughness:

This is the only one that exposes the Metallicity slider, which does more or less what you would expect - dial it in only on metals.  DAZ's shaders included with the public beta swing heavily toward use of this shader model, not only on metals but on glass and skin, so contrary to what you would expect, they seem to feel it is the best "general use" shader.

PBR Specular/Glossiness:

This shader model locks the glossy weight at a higher value and hides that slider.  It also exposes the specular glossy color.  Just changing from this to the previous type and back can change the look of your shader to something smoother and less metallic.  It is not used by any of the shaders DAZ has included with the public beta content, but in my experiments it is useful in some specific cases (I prefer it to their chosen look for human corneas and sclera, for instance).

DAZ's docs say this one is the closest to the way the 3Delight shader base was set up.

PBR Weighted:

This one takes the values of the diffuse weight and glossy weight and adjusts them relative to each other.  It can be harder to get a good look with this but it is worth going into for some items.  DAZ uses it on their included velvet and satin shaders. I checked this, but this does not mean the diffuse and glossy weights must add up to 1.0; it's definitely possible to have the total value of both be higher than 1.

---

Now we will tour the dials (except Metallicity, which was already mentioned).  In many cases you will not see the options that go with a given dial until that dial is at a value higher than 0.

Diffuse Weight: This controls the contribution of your base color or diffuse map, as the similarly-named channel would in 3Delight. 

Base Color: Your diffuse map goes here.  Its effect goes away if refraction is on to any great degree regardless of the diffuse weight dial.

Diffuse Roughness: A higher diffuse roughness shows more shadows around the edges and the surface looks rougher.  A lower diffuse roughness can make edges look almost shadeless.  This is different from bump because it has more effect on how light is absorbed or reflected (absorbed more at high roughness, reflected more at low).

Translucency Weight: I think of this as the "jelly dial," because when it's turned up high, your surface looks like jelly.  This is the effect that high SSS has in Poser and on some 3Delight shaders, but it's not SSS because it does not depend on the direction of light and it will have an effect regardless of backlighting.  DAZ's skin shaders place a map in this channel and use the black and white SSS map for this purpose if one is present.

Scatter Only Vs. Scatter And Transmit:

Several settings have this option now, including Base Color Effect, Glossy Color Effect, Metallic Flakes Color Effect and Top Coat Color Effect.

Looking at the DAZ docs, I think the key phrase is probably "layered over transmission" vs. "sent to the transmission layer."  It sounds like Iray is applying a Scatter Only value on "top" of the transmitted color, which explains why setting a blue diffuse and a green translucency looks blue with Scatter Only and dark blue/green with Scatter And Transmit.

This explains why, in the DS Genesis 2 shaders, Base Color is set to Scatter Only (so that the skin's base color is strongly shown) but glossy is set to Scatter And Transmit (to better simulate wet stuff under the skin when using the specularity at its surface).

Glossy Weight: How shiny the object's surface is.  This is affected by a lot of following channels.  Reflection is not controlled separate from the glossy settings, so turning on glossy weight WILL produce reflections.  I have yet to find that anything changes the size of specular highlights other than changing the direction and strength of lights in the scene.

Share Glossy Inputs: On by default.  This opens up more options if it is set to "off" when refraction and/or backscattering are being used; if backscattering and refraction weight are 0 just leave it on.

Glossy Color: The color of the main highlights, not unlike 3Delight's "specular color."

Glossy Reflectivity:  1.0 by default.  The docs say this "roughly correlates with IOR" and that you can leave it alone on most things.

Glossy Specular: DAZ's docs say this sets the specular amount for the glossy.  It doesn't seem to have much visual effect dialing it up and down.

Glossiness: This controls how sharp the visible highlights are (more = shinier).

Glossy Roughness: Turning this up makes the surface duller and less shiny, the opposite of turning up the glossiness.  Like diffuse roughness, this accepts maps.

Glossy Anisotropy: This seems to control how much highlights are pulled or smeared (higher = more smeared).  It is intended for brushed metal effects according to the Iray blog I linked before.

Backscattering Weight: This is hard to explain.  It affects materials like some kinds of velvet or precious stones like tigereyes, where light is reflected straight back at 180 degrees.  It tends to give a velvety no-firm-edges look when turned up higher, and is used on DAZ's "red velvet" shader. 

Backscattering Roughness: The higher this is, the more surface details get obliterated in the velvety effect, at least in my testing.  It's very high in DAZ's "red velvet" shader.  I would use it on something like a star sapphire, I think.  DAZ describes this effect as "adding sheen."

Refraction Index: Has an effect on both refraction and transmission!  This is the refraction index of the material.  A table of real refraction indices is available on Wikipedia, and these convert pretty much straight across (physically based rendering FTW!).  You can still use this value with refraction weight at 0 if you're using Translucency and SSS, because it will use it when calculating light that goes through the surface.

Refraction Weight: How much the refraction affects the material overall.  If it is at 1.0, the diffuse color will no longer affect the material except in Weighted mode, and color must be set with the glossy color or the SSS transmitted color.  This seems to change the size of specular highlights when it's used, but I can't find that anything else does.  In Weighted mode

Abbe: This is the amount to which a refractive object behaves like a prism, splitting light into component colors.  It only applies when refraction is greater than 0.  You would not see much of this on, for example, a glass ball, but very much on a diamond or faceted object.

Glossy Anisotropy Rotations: This controls in what direction the highlights are pulled or smeared, if they are pulled or smeared by the glossy anisotropy slider.  Thank you to vwrangler for helping me understand the docs I found on this!

Base Thin Film: This value appears three times in the shader, for different "layers" that the shader has (base thin film, metallic flakes thin film and top coat thin film). 

When turned on for a given layer of the shader, it treats the layer as a very thin film overall, its thickness measured in nanometers.  If this value is set to higher than 0 it activates the Base Thin Film IOR, which is another index of refraction value, so that you can set correct refraction.  Use this only if you want the diffuse and glossy settings to apply as though they were a thin film over a surface; use the thin film versions found in metallic flakes and top coat similarly if you want those to behave like thin films.

Base Bump: The bump map goes here.

Base Normal Map: The normal map goes here.  Unlike in 3Delight, it will also have a control slider when one is added.

Metallic Flakes Weight:  Turning it on activates several other options as it "activates" the second layer of the Iray shader (the metallic flakes layer).

Metallic Flakes Color: The color of the metallic flakes.  Using a different color from the base can give a nice glitter effect, or using a colored map in this channel.

Metallic Flakes Roughness: A low value by default; turning this up makes the flakes look rougher and less reflective.

Metallic Flakes Size:  Turning this up makes the flakes look individually larger.  Turning it WAY up gives a really weird rusty effect.

Metallic Flakes Strength: This makes the flakes more visible as opposed to larger, rougher or shinier.  That is, it makes them show up more.

Metallic Flakes Density: This makes the flakes look closer together or further apart as well as bigger or smaller.

Metallic Flakes Thin Film: This makes the Metallic Flakes layer behave like a thin film.

Top Coat Weight: Turning this above 0 activates the third and topmost layer of the Iray shader.  This, and all of its child settings (color, refraction, etc.) can be used to create an impression of thick sealant over paint, or slime over skin.  I'm not sure what the layering mode and rotations do here, but the other settings are pretty much the same as discussed for other channels, just that they only affect the top coat itself.  You can even give it its own bump map.

Thin Walled: This is on for things that are meant to represent just a thin layer or shell (a "bubble," say the docs), and off for things that are meant to represent liquids or transmissive solids (a "solid marble," say the docs).  It must be off to use the transmitted settings below, since a thin-shelled item has no interior through which to transmit color.

Transmitted Measurement Distance/Scattering Measurement Distance: These are actually different because the transmitted distance affects how far into the material light goes before it is completely the transmitted color, and the scattering distance affects how far into the material it goes before it is scattered to the SSS amount you set.  The higher these are, the denser and more opaque the material looks.

For Transmitted Color to show up the SSS Amount value also needs to be higher than 0.  Using SSS (subsurface scattering) at a high value with Transmitted Color gives an effect that responds to light direction and intensity more than Translucency does, but it's still the concept of light being scattered by a dense non-opaque material when it hits the surface.  Don't try to use a glossy color when SSS Amount is at 1.0; the effect is unpredictable and ugly.

SSS Direction tells the shader which direction the light is scattered, toward or away from a light source.  Negative numbers go toward the light source, and positive numbers scatter away from it (0 will result in almost no scattering).

DAZ's skin shaders use this at a low value without a map.

Emission Color:  By default this is set to black.  Setting it to white, gray, or a color causes the material to become emissive and cast light on the scene.  This is not like 3Delight's Ambient glow, it really does cast light as an emitter.  Turning this non-black activates its child settings.

Emission Temperature (K): The light temperature in Kelvin.  This is a real property of lights.  Here is a good chart.  In general, it's easier to get a given color of light using the temperature than the actual emission color.  If you want a color that can't be achieved this way, such as purple or green, set the temperature to around 5500 and only then use the emission color to tint it.

Two Sided Light: Emits from both sides of a mesh if thin-walled is on and this is set to "on."  You can use it to make a plane emit from both sides.

Emission Profile: This is another real thing that you can download many of for free.  Mostly it is used for creating the shape a lamp's light casts on a wall from behind a shade, so you only need it in special situations.

Luminance and Luminance Units:  This controls how bright the light is.  This is another real-world number you can look up for a given type of light bulb or flame.  There are many available units; I've mostly used lumens, although that is not the unit it uses by default.  Again, less like 3Delight, how close a light is to the object it lights really affects this and light scatters and fades more with distance.

Cutout Opacity:  This is opacity without refraction.  It's called "cutout" because the engine literally doesn't see the geometry any more if this is set to 0; objects with transmaps don't necessarily lag the render (Iray does care about how big the maps are, but not the transparency itself).  This is used to hide things or transmap clothing edges, etc., never to create transparency in water, glass, or other materials (we use refraction, SSS and translucency for that).

Displacement Strength: The displacement map goes here.  Choosing one activates the other displacement options.  Minimum and Maximum are similar to other engines.  It's important to note the SubD Displacement Level, though, because you want that to be higher than 1 for most displacement if it's being used to add detail.  It does not have to be the same as your mesh's SubD, but that's certainly an option.  This is too low if your displacement map looks jagged in render.

Horizontal/Vertical Tiles And Offset:  Tiling works basically the same as in 3Delight.  These control the amount of times a texture is tiled and how far offset the tiles are dragged.

UV Set: Unchanged as well.  This is the dropdown where multiple UV sets will appear if an item (such as Genesis 2) has multiple UVs.

Smooth: On by default; should be turned off for certain types of hard-surfaced objects (gems, some construction items, etc.), otherwise ignore it.  Having SubD on the mesh actually turns this off anyway.

The options below this affect how smoothing is applied.


That's what I know so far!  Thank you to DAZ Spooky for pointing me to the documentation to correct some early misconceptions that I had.
  • Mood: Artistic
  • Listening to: Redwing blackbird in the creek
  • Reading: Blogs
  • Watching: Vlogs
  • Playing: Minecraft
  • Eating: Leftover Chinese food
  • Drinking: Coffee with homemade cocoa mix
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doodle.
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Featured
:iconalexlexs:
Collection by
found this one in my archiv...maybe you can use it
please read my rules :)
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rules for my stock:

* please let me know if you use it - best send an email to fotos@jamari-lior.com
* please send me a fullsize, logo-free copy, so that i can use it for my portfolio on and off DA as well (mentioning your name if you wish) - this has to be okay with you!
* do not chop off/exchange heads
* nothing vulgar
* can be used outside DA as well!
* have fun :-) (Smile)

* it might be that i publish some of our work in a book or magazine or a dvd, in this case i will let you know and mention your name (as long as the design allows it). this should be okay for you - vice versa it is okay for me as well! --> so yes, you can use my stock for books, CD covers etc., as long as you retouched it (so don't use it as it is) and i would be happy to be mentioned as www.jamari-lior.com .
* if you plan a special retouching let me know, i have exclusive stock :-) (Smile)

mails to fotos@jamari-lior.com
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I love my elf ears, I kept them on for AGES after the shoot had finished. I think I could get used to the look.
Note: I do not do archery, or sword fighting, so my stances may not be completely polished. Please, unless its constructive, go easy on me.

Photographer: *Tasastock
Weapons courtesy of ~Blakava-stock


:bulletpurple: Credit me for using this stock
:bulletpurple: Send me a link to your work so i can see it and :+fav:
:bulletpurple: This may be used in prints on DA, but please ask before using outside the site.
:bulletpurple: If you only run this stock through a filter, I will ask you to remove it.
:bulletpurple: I do NOT allow use of my stock on RPG/Sim game sites. Sorry.
:bulletpurple: Download for full size image.

:boogie:


Please go to my journal/front page for complete stock rules!
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Here's a little teaser for you all of the very pointy earred shoot I did with *Tasastock yesterday. :la:

I love my elf ears, I kept them on for AGES after the shoot had finished. I think I could get used to the look.
Note: I do not do archery, or sword fighting, so my stances may not be completely polished. Please, unless its constructive, go easy on me.

Photographer: *Tasastock
Weapons courtesy of ~Blakava-stock


:bulletpurple: Credit me for using this stock
:bulletpurple: Send me a link to your work so i can see it and :+fav:
:bulletpurple: This may be used in prints on DA, but please ask before using outside the site.
:bulletpurple: If you only run this stock through a filter, I will ask you to remove it.
:bulletpurple: I do NOT allow use of my stock on RPG/Sim game sites. Sorry.
:bulletpurple: Download for full size image

:boogie:


Please go to my journal/front page for complete stock rules!
Show
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RULES OF USE!
1. Credit me and link back to this stock!
2. Note me with a link to your version.
3. No negative or offensive use of the image.
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