🦆🪲🕷🐝🦋🐌🐓🌻🍀🍄🐞🐛

I absolutely love Lucifer's face in the original painting. It's so masterfully done that it's often just cropped and pictured alone. The curls being whipped by the wind, the weeping eyes locked intensely on the flying angels still in the sky, the hands clasped so forcefully in a way that looks like it could either be restraint or prayer (and either way would be too late to help anything). I haven't done it justice with this adaptation. Don't think I ever could. Genuinely one of my favorite paintings ever.

But that being said, I think the composition of the piece also naturally draws your eye to his leg; where the face is busy and intense, the thigh serves as an open and relatively plain area for the eye to rest on, which slowly guides the viewer either up the ribs to the shoulder (where the curve of the shoulder blade hunching forward is really nice to look at) or down the leg (where the lower legs and feet interact really well with each other). The extended leg catching the light serves as a sort of barrier to contain the rest of the figure and separate it from the ground and the background. In my drawing, you lose a bit of that clarity because the ground is not rock and sea but snow, making the central figure no longer the brightest and most highly contrasted part of the image. I decided I could live with that in the end, because I think the increased separation of the values (almost to the extent that there are very few midtones) fun enough to warrant it, especially considering that there isn't the contrast between the warm yellows/pinks/oranges in the body with the blue of the background anymore.

I think there's a lot of very subtle anatomical detail in the original artwork that is completely lost in translation because of my simplified cel shading, but I really tried to capture as much of it as I could. Also holy shit look what I can do when I actually have a dynamic pose. what having a reference pic does to a mf