#pattern adapting

[fldx2]

my hand-knit dallas stars blackout jersey (sweater edition) is complete! just in time for game 1 round 1 of their 2024 playoff run 💚

this project was such a labour of love and the pictures above are the culmination of three months of planning, two months of knitting and too many days procrastinating weaving in all the ends 🥲

if anyone is curious about the project details including yarn amounts or how i did the intarsia logo, please feel free to send me a message and i’ll answer as best i can (or will send you the link to my ravelry page for this project) ☺️

[1071png]

croco-boy still on my mind

(and the seraphim and cross guild as well)

[atthebell]

fuck it look at this little guy

[lavendorium]

🩶OP/necklace - handmade 🩶blouse/shoes - Bodyline 🩶headbow - Metamorphose

[princesssarisa]

The Most Common Types of Fairy Godmother in "Cinderella" Adaptations

Since @ariel-seagull-wings and I have already posted about the different portrayals of Cinderella and her prince, I thought it might be nice to look at the different portrayals of the other characters too.

Each portrayal of the Fairy Godmother is unique, but patterns do emerge across the different adaptations. I've found that the different portrayals of the character can be divided into five categories, with some portrayals combining two of them together.

The Regal, Ethereal Lady

This beautiful, elegant creature is emphatically a fairy godmother, not a godmother who happens to be a fairy. She wears a gorgeous flowing gown, not of any earthly fashion, and though her age is indeterminate, she seems youthful yet wise. Her demeanor is kind and gentle, yet serious and stately, though she might have a slight playful streak. She takes on the role of the story’s moral authority as well, usually emphasizing that she comes to reward Cinderella for her goodness. Often, she first appears disguised as an old beggar woman to test the respective virtue of Cinderella and her stepfamily, and Cinderella earns her good will by giving her bread while the stepfamily scorns her. Sometimes she has attendant fairies or other magic-users to assist her as well: she might even be portrayed as the Fairy Queen, who lives in the forest like Shakespeare’s Titania and has countless fairies, elves, and sprites as her command. Fairy Godmothers of this type are most often seen in earlier adaptations: they include “La Fée” in Massenet’s opera Cendrillon, the Fairy Godmother in Prokofiev’s ballet, Inez Marcel in the 1914 silent film, Varvara Myasnikova in the 1947 Russian film, Celeste Holm in the 1965 version of Rodgers and Hammerstein’s musical, and the animated Fairy Godmothers both in the 1935 Betty Boop cartoon Poor Cinderella and in the 1979 Russian animated short.

The Grandmother Figure

This Fairy Godmother is a little old woman, and she’s very human as fairies go. She might not be regal, or beautiful, but she radiates a sense of warmth and comfort like all the best grandmothers do. Her sweetness, gentleness, and maternal affection are just what Cinderella needs in her despair, and sometimes she can be adorably absentminded – forgetting where she put her wand, almost sending Cinderella off to the ball in her rags, etc. – which adds gentle comic relief to the story. Yet she also conveys the wisdom that comes with age, and her magic is just as powerful as that of any younger, more glittering fairy. The quintessential Fairy Godmother of this type is the one voiced by Verna Felton in Disney’s classic 1950 animated film. Several other animated versions aimed at children feature grandmotherly Godmothers too, like the versions from Jetlag Productions and Burbank Animation Studios. In the 1995 musical A Tale of Cinderella, “La Stella” is Cinderella’s actual grandmother, whose magic sadly couldn’t save her daughter’s life, but can save her granddaughter’s future. Jean Stapleton’s Fairy Godmother in the 1985 Faerie Tale Theatre adaptation is also very grandmotherly, although she has additional glamour and a sense of humor that bring her closer to the next type of Fairy Godmother on the list (see below).

The Sassy Glamour Queen

She’s beautiful, she’s elegant, she’s as smart as a whip, and she knows it! This is a more modern, lighthearted twist on the Regal, Ethereal Lady. The sparkle of the gorgeous gown she wears is matched only by the sparkle of her playful wit, and her confidence in herself is surpassed only by her confidence in Cinderella. Her sense of humor lifts Cinderella’s spirit, while her intelligence, poise, and indefatigable spirit make her a strong role model for the girl. Yet though kind and caring, this Godmother tends to be a bit more standoffish than others – though not in a bad way. She urges Cinderella to solve her own problems, not just rely on her, and to have courage and faith in herself against all odds. The most famous Godmother of this type is probably Whitney Houston in the 1997 version of Rodgers and Hammerstein’s musical. But Edie Adams’ elegant and mischievous Godmother in the original 1957 Rodgers and Hammerstein telecast is a good example too: although since she spends most of the story masquerading as a human, she combines this portrayal with another type (see the bottom of the list). Meanwhile, Jean Stapleton’s Faerie Tale Theatre Godmother has the elegance and humor of this type, but as an elderly woman, she combines it with the Grandmother Figure. Last, but not least, is Billy Porter’s nonbinary “Fab G.” in the 2021 Sony/Amazon musical.

The Eccentric Mage

This funny and kooky Godmother is one of those beings who combine magic with just a little insanity. Her mind is like her powers: not entirely of this earth. Like the Regal, Ethereal Lady, she tends to disguise herself as a poor, ragged old woman to test Cinderella’s virtue and befriend her before the ball – but she takes it a step further and masquerades as a crazy homeless woman, who spouts odd remarks and whom anyone less kind than Cinderella might try to avoid. Yet even when not in disguise, she’s a bit of a ditzy oddball, who sometimes fumbles her spells once or twice before she gets them right: e.g. dressing Cinderella in the wrong type of clothing at first, or turning the pumpkin into the wrong item, or accidentally making it grow to a gigantic, greenhouse-shattering size before it becomes a coach. Fairy Godmothers of this type include Helena Bonham Carter in Disney’s 2015 live action film, “Crazy Marie” in the 2013 Broadway version of Rodgers and Hammerstein’s musical, Joyce Gordon in the Muppets’ Hey, Cinderella! and Estelle Winwood as Mrs. Toquet in The Glass Slipper. Although since Mrs. Toquet never takes off her “crazy poor woman” disguise, she combines this variant with another one: The Godmother Who Happens to Be a Fairy (see below).

The Godmother Who Happens to Be a Fairy

This is the most human portrayal of the Fairy Godmother: an ordinary woman who just happens to have magical powers, which she hides until they’re needed. Cinderella typically befriends her long before the ball, sometimes knowing her from childhood. She might be a household servant, or a kindly neighbor, or a traveling portrait painter, but whoever she is, you wouldn’t guess that she’s a fairy. She might even pretend not to believe in magic. She might also be Cinderella’s literal godmother – a close friend of her late mother’s, or even a relative. But no matter who she is, the friendship and the simple, human advice she gives to Cinderella (e.g. never to lose hope, or not to be afraid to love the Prince) are just as valuable as her spells. Edie Adams’ mischievous Godmother combines this characterization with the Sassy Glamour Queen in the 1957 Rodgers and Hammerstein musical, Estelle Winwood’s Mrs. Toquet in The Glass Slipper combines it with the Eccentric Mage, and Annette Crosbie’s sensible and ladylike yet quirky Godmother in The Slipper and the Rose combines it slightly with the Eccentric Mage too. Other examples are the artist Paulette in the anime series Cinderella Monogatari, the cook Mandy in the original novel of Ella Enchanted (who is also the Grandmother Figure), and the pasta-stirring grandmother La Stella in the musical A Tale of Cinderella (ditto).

@ariel-seagull-wings, @thealmightyemprex, @adarkrainbow, @themousefromfantasyland, @faintingheroine, @angelixgutz, @softlytowardthesun, @amalthea9

[imsquat]

my kitties 🗣️🔥🔥💪😁😁

[books-apples-socks]

(...) Silver had terrible hard work getting up the knoll. What with the steepness of the incline, the thick tree stumps, and the soft sand, he and his crutch were as helpless as a ship in stays. But he stuck to it like a man in silence, and at last arrived before the captain, whom he saluted in the handsomest style. He was tricked out in his best; an immense blue coat, thick with brass buttons, hung as low as to his knees, and a fine laced hat was set on the back of his head. “Here you are, my man,” said the captain, raising his head. “You had better sit down.” “You ain’t a-going to let me inside, cap’n?” complained Long John. “It’s a main cold morning, to be sure, sir, to sit outside upon the sand.” “Why, Silver,” said the captain, “if you had pleased to be an honest man, you might have been sitting in your galley. It’s your own doing. You’re either my ship’s cook—and then you were treated handsome—or Cap’n Silver, a common mutineer and pirate, and then you can go hang!” “Well, well, cap’n,” returned the sea-cook, sitting down as he was bidden on the sand, “you’ll have to give me a hand up again, that’s all.” (...) Silver’s face was a picture; his eyes started in his head with wrath. He shook the fire out of his pipe. “Give me a hand up!” he cried. “Not I,” returned the captain. “Who’ll give me a hand up?” he roared. Not a man among us moved. Growling the foulest imprecations, he crawled along the sand till he got hold of the porch and could hoist himself again upon his crutch. Then he spat into the spring. “There!” he cried. “That’s what I think of ye. Before an hour’s out, I’ll stove in your old block house like a rum puncheon. Laugh, by thunder, laugh! Before an hour’s out, ye’ll laugh upon the other side. Them that die’ll be the lucky ones.” And with a dreadful oath he stumbled off, ploughed down the sand, was helped across the stockade, after four or five failures, by the man with the flag of truce, and disappeared in an instant afterwards among the trees.

[randomness-is-my-order]

some fandom friends of mine ask me why i’m such a steadfast percy defender and the reason is kinda simple: even tho i was a little girl while reading the books, i related far more with percy than with annabeth or clarisse or thalia. i understood percy’s character the most and tho i love them all, my love for percy will be just a bit more and well, for so many others that one favourite closest to heart character is annabeth instead or nico or thalia or clarisse or one of the hoo heroes and that’s the thing about books and all these worlds full of different, interesting people. you relate to characters not just based on gender or motivations or their unique set of attributes but sometimes it’s just the way they talk or their backstory or their ways of coping or their outlook on life or their introspective musings and that’s enough to make them that one special character you will die on hills for and that’s hella dope actually.

[wombrion]

HEY who is that feller you did in post 719868046861385728 I need to know everything I possibly can about them Immediately that's such a compelling and amazing piece

yeag shes an oc of mine:) i know nothing of her other that shes a failgirl and experiencing some dantes inferno shit (gets dragged around by dubious being ((other oc)) on a fucked up realm)

i dont know much abt the whole universe i want them to be in but the main theme is that they live in a giant being that is currently dying of starvation, and theyre trying to escape it before it dies and rots up lol

heres some more art i did, shes pretty fun to draw^_^

[theworldinstitches]

Hannibal quote cross stitch pattern

[wigglewigglewigglenot]

Working on cross stitch holiday gifts, here’s a wip of The Kiss by Gustav Klimt! The cross stitch pattern is from AwesomePatternStudio on Etsy ☺️

The original painting for reference:

[shadowetienne]

Just finished a big lace project! It's a cowled cape done with the Gilbert Baker original 8 stripe pride flag colorway with navy bands between the colors and a little flourish of extra blues at the end.

The main pattern used was this one: https://www.ravelry.com/patterns/library/evelyns-glow-cowled-cape

But I ran out of pattern before I ran out of colorway and supplemented by adapting this lace pattern of leaves to work in the round for the bottom: https://www.ravelry.com/projects/incorporate/fall-foliage-cloth

The pink at the top and the flourish of blues at the end are in a different yarn (Scheepjes Organicon) from the main body (Queensland Rainbow Cake). For the pink it was the only part of the 8 stripe missing, so I cast on with it and then attached the rainbow cake after. For the blues at the end, I ran out of yarn and needed just a little more, especially since I was doing a stretchy cast off, and I had those available from the project the pink was originally from and thought they went the best.

[of-fear-and-love]

Outfits from Friday Foster (1975)

[namibozsu]

Brain wanted me to draw umi / umei-when-in-captivity today

[centralsaints]

successfully taught myself colorwork knitting this week when all I remembered from my childhood and my mom teaching me was how to do a knit stitch. not even cast on. straight up knit

[itsslivernotsilver]

hi guys does anyone wanna hear about the dichotomy that mist and maddie form in reference to that god damn tomato from the og short stories. ok great here i go

pantheon definitely expands a LOT on the differences between the two sisters but ken liu’s bit about the tomato has always stood out to me and i’m kinda sad they didn’t keep it in the show but whatEVER!!!!!! anyways it’s such a perfect symbol for the glaring differences between mist and maddie and i’ve been thinking about this for almost a year now so i gotta get it out there

like. it’s so simple. it’s just a tomato.

🍅<—tomato. round and red 👍 (also i love that little interaction so much holy shit)

anyways it’s so simple in it’s design but the connections that each sister has with such basic object like this are so drastically different it’s crazy

maddie approaches it from a deeply emotional and human perspective. to her, a tomato means the taste of one, her grandma, her family’s garden, her family’s dog, and just like. general childhood memories. in the show, she represents the side of humanity that wants to stay physically in the real world. she’s obviously friendly with UIs and CIs given that like. yk. and she expresses curiosity in mist and her whole deal!!!!!

but she clearly has her biases and those are shown through her wants for her son and how upset she gets when he advocates for uploading (even though mist practically raised him too but whatever i’m not gonna get into that rn). anyways my point is that she’s approaching this tomato conversation with her experiences regarding physicality, nostalgia, and other “human” feelings

but mist doesn’t have any of those!!!!!! she doesn’t have any human experience at all. she approaches a tomato from an extremely technical and factual perspective. she brings up the species categorization, court cases, genome info, etc. she even decides to mention that, logically speaking, she knows more about tomatoes than maddie does (which is like??? girl????? a little unnecessary but true)

in the show there’s the conversation about nostalgia and her line about having the code for nostalgia but not being able to execute it because of a lack of memories fucks me up sooo bad

she loves maddie and everyone around her because she’s kinda just an actual embodiment of love but she can’t help but feel alone in a world where everyone moves so slow and nobody really gets that she can’t understand a lot of “human” emotions. it’s why she’s so ecstatic to introduce caspian to the cloud and why she’s so passionate about the drive with all the CIs who are just like her. but in this moment she tries her best to connect with maddie but ultimately can’t because of the sheer lack of similar experiences

they just can’t understand each other fully and they never will. they’re forced to agree to disagree over something as simple as a tomato and god that tension keeps me up at night

another thing that i thought was super interesting was how the maddie’s interest in mist was flipped in the show if that makes sense???? like in the stories, it’s clearly maddie who wants to learn more about mist. she tries her best to bridge the gap and it’s her idea to give mist a body. but in the show, it’s mist that seems “more obsessed” (heavy on the quotes) with maddie. she’s reaching out more and she asked for a body herself and maddie lashes out when mist does something while trying to help (don’t even get me started on caspian and his whole deal this season i’ll fucking kill someone)

ALSO i feel like this post is getting too long now but i wanna at least mention the quote at the beginning of the chapter cause holy shit man

anyways that’s it for now i think. i might make another post about the quote and the other stories and some other details i really liked for the nonexistent people who’ve seen this show 👍