#i wanted to try out some more poses !!!!!!!

[maomango-doodle]

Playing around with the color wheel WEEE

[weirdmageddon]

HER RIGHT ARM IS LITERALLT ON HIS HEART IT’S ACTUALLY SICK. NOT A BIT OF AIR BETWEEN THEM

[sweetsnidle]

bunch of mukuros

[mattodore]

guy whose childhood drags behind him like a dead body

[citrusinicake]

stone sword mentality final vs wip

as can be seen in the wip it was originally gonna be drasticduo instead of starfox but the posing was way too reverent compared to how i perceived their dynamic to be so i decided to change it to starfox because... well *gestures at whatever tf they had going on in s4*

[shuuhui]

i have some thoughts on this....

[jerrythebug]

It's WIP Thursday on a Sunday babes!!

[anghraine]

A more coherent part of the adaptation+Darcy post I was threatening to release from drafts purgatory:

While I think all adaptations' versions of Darcy are pretty bad at representing Austen's character, though sometimes compelling in their own right, I think the various choices made are all ways of addressing the same problem with the character as written.

It's not a problem in the novel—indeed, I'd say it's a remarkable achievement there—but I think we don't always realize how extremely ambiguous the presentation of Darcy is through the first half of the novel. It's easy to read him as basically hostile because he was when he first appeared and because Elizabeth, our smart, likable POV character, gets stuck in that perception of him for half the book. So it's only on re-reading that most audiences realize Elizabeth drastically misread his real feelings and the original interpretation of his manner is thrown into question, at the very least.

But as I said in the other post, Austen plays fair: it is entirely possible to realize that Elizabeth is mistaken about some things (esp about how he feels towards her), it is possible to realize that particularly observant characters find his expressions and behavior difficult to interpret, it's possible to notice that we are rarely told how he's speaking or smiling, and scenes typically cut off before we can be told. And it's possible to notice the many issues with Wickham's account of him.

But it's also entirely possible to read everything he says and does as Elizabeth does, and the narrative gently encourages us to do so without often committing to actual description that would guide us in those ambiguous scenes. Austen might have, for instance, described his smiles in the Netherfield scenes as contemptuous, polite, or pleasant. But she just repeats that he's smiling while drawing very little attention to the fact and rarely committing to an indication of what his smiles or presentation of dialogue are like. So it's mostly up to us to decide, with the occasional (dubious in some respects) interpretation from Elizabeth.

And we're likely to reach different conclusions on re-reading—the earlier presentation of Darcy rewards re-reading a lot, because a lot of the time, we don't even realize how much we're not being told until the letter or even the Pemberley scenes, where Elizabeth identifies the smile we saw in his earlier scenes as the same one in the painting done during his beloved father's lifetime—making, say, the "contemptuous" reading very unlikely.

Now, getting away with that level of ambiguity and obscuring that the ambiguity is happening in the first place, as Austen manages to do in the novel, is both impressive and a hell of a lot harder in visual form. Not impossible! But if we see and hear him ourselves we're less likely to form judgments shaped by Austen's tricks of narration and Elizabeth's POV, and this typically involves commitment to a particular aspect of his presentation in the novel.

And if you think about it, the four major adaptations of Darcy are essentially committing to some part of his depiction.

Laurence Olivier's Darcy is smiling, witty, and charismatic—which are a part of his personality, but skewed so far out of proportion that he's virtually unrecognizable. And there's no attempt to obscure his place in the narrative as the actual love interest (I assume because duh, it's Laurence Olivier—but it was a pretty unrewarding role for him as written).

David Rintoul's Darcy is (in)famously "robotic"—the 1980 version of him leans into the withdrawn, inexpressive, difficult to read but clearly uncomfortable version of Darcy. The smiles in the earlier part tend to be tight, a matter of form, and/or unconvincing, by contrast to the later Darcy's comportment towards the Gardiners and Elizabeth, esp after the second proposal.

Colin Firth's Darcy is, well—okay, I'm biased because of my intense dislike for the 1995 production, but I do think it's also struggling with the same issue, but responds in the opposite way as the 1980. Where the 1980 tried to replicate the ambiguity in a way that retained Darcy's tendency towards a certain severity and dignity and mostly ended up at expressionless, the 1995 transforms it into visibly intense, sexualized brooding. This is coupled with Elizabeth's perception of Darcy's hostility being much more validated than in the novel; he snaps at her, most of his textual smiles are removed, even his letter is rearranged with an eye to half-dressed angst rather than the subtle charity of the omitted "God bless you", and generally his angst and passion!!! are played up rather than down ("I shall conquer this!!" / the melodramatic pond dive and shift in focus from Elizabeth's shame to Darcy being barely dressed / Darcy being grim in London, etc).

If the 1995 version of Darcy commits to Darcy's behavior being largely how Elizabeth sees it, the 2005 drastically reverses that. Matthew Macfadyen's Darcy is also struggling with passion, but tbh he seems like he's kind of struggling with everything. He's visibly consumed with anxiety, he's obviously shy where Darcy has to explain his discomfort or experience it as a POV character in the novel, he seems sweet despite occasional classism, and at times his arc seems more about learning to relax than anything else. That is, instead of representing Darcy as more or less accurately seen by Elizabeth, it leans into emphasizing the extent of her misunderstanding, with Darcy's behavior both more sympathetic than she sees it and clearly comprehensible if she weren't so biased against him (fwiw, The Lizzie Bennet Diaries also emphasizes Elizabeth's misjudgment to a considerable extent and deals with the ambiguity by keeping him literally offstage).

The point of all this is that there is a core issue of adaptation here—the difficulty of representing subtle novelistic ambiguity while making Darcy emotionally compelling at the same time. Adapted Darcys are often given extra scenes, altered dialogue, or (where described in the novel) altered mannerisms/emotions to try and achieve this. And all lean so hard into the aspect they choose to emphasize that they tend to sacrifice most of the rest of his personality to the interpretation they're committing to, and his feelings for Elizabeth tend to be incredibly obvious to the point that it sometimes strains belief that she wouldn't see them, even with all her investment in not seeing them.

I guess the thing is that I think just stopping with "this is an issue of the different media and can't be represented on film" is boring and underestimates the potential of film as a medium. There are plenty of performances that can only be fully appreciated on re-watching or re-listening to something with a fuller knowledge of what is revealed later. And to some degree, the adapters do have to choose how much they want to incorporate Elizabeth's perception of Darcy vs the bare narrative and what they're willing to give away about him to preserve what seems most important.

These are all active choices with actual significance, IMO. They imply priorities about the production and their production's take on Darcy that are intriguing in a way that gets lost by just giving them a free pass by way of the challenge of the medium.

[noctlas332]

the way my schools printers work is that if youre printing a document, and the printer runs out of paper, your unprinted pages will print before those of whoever comes to print next

i tried printing some things today but the printer ran out of paper

i came back half an hour later to a stack of printed images

someone had to wait for my 28 pages vocal synth yuri to print before they could do their work

[tonguetiedraven]

Another year of art! I think I'm finally starting to get lighting.

[speakeasier]

i want to read or at least watch this out of curiosity.

me, looking. okay, hold up why does this sketch look kind of good though. lowkey feeling myself on this even though i don't go there. sldkglsdkjg.

[mattodore]

this is what i do when i'm having bad days 🤺

[socksandbuttons]

Notbme staring at my inktover knd 2019 drawings and going Damn

I need to practice inking agaib

[oc-atelier]

Part 2 of the, "putting Leo in outfits," WIP sketches! The outfit this movie is from has a really soft place in my heart and I was so excited to sketch Leo in it last night, but trying to figure out the perfect pose to put him in to match the feeling of the outfit while also showing off more of his personality was a struggle dgjksljgjlk Thankfully, just sleeping on it and revisiting it today helped bc I ended up liking this pose a Lot better compared to the ones I was trying to make work last night

[averlym]

Wait so I’m kind of confused, are you still doing asks? Or just commissions since you’ve officially closed ur requests. Are you just gonna occasionally do asks with requests no longer being sent?

hi hi!! okay so:

1. commissions are open right now

2. requests are 'closed' - i can't stop you from sending them, but it's pretty unlikely that i'll draw them any time soon

3. i have quite a lot of old requests filling my ask box, so i'll do those asks occasionally

hope that clarifies a bit!

[midnightwind]

I’ve been staring at these (and a third triple line up that I literally only have the poses for) for like a few months so have some WIPs of Nik in fancy wear and my phantom rogue Lucian’s general get up (kindofsorta I’m playing with ideas still)

I keep waffling on Nik’s outfit because I want it to be thinner and more flowing, but can’t get it in that nice mid ground of feminine but not straight up a dress, ya feel?