Until then, the images were often of the "one idea, one technique" kind. With more experience and more computer power, the pictures could become more ambitious in scope, like "
Mouseless" and "
Harvest time". Poser models were everywhere now. Thanks to Ron Parker's Superpatch, uv-mapping was also available, which made possible zebras, frog and head textures, and for the first time a realistic naked female character right in the foreground. Radiosity was still experimental and the results were far from perfect but the technique was too good to miss so I used it more frequently, as in "
Eve" and "
Waiting for Noah".
