does anyone know where I can find good reference images of victorian-era wheelchairs? I want to draw the jovial contrarian but all the wheelchair art refs/tutorials I can find are for modern wheelchairs
Part VII
standing tall
expanded posture, opening of the torso
lifted chin, head held high
big and confident smile
looking around to see if people recognize and admire what they are proud of
big smile and laughter
wide radiant eyes
raised eyebrows
jumping up and down or bouncing
clapping hands
big hand gestures
loud and high pitched voice
speaking quickly
not holding/breaking eye contact
fidgeting
heavy breathing
twitching in their face
often a blank stare or looking away
rigid posture
sweaty palms
bouncing their knees
rubbing palms against each other or clothing
laughing
giggling
grinning
using a playful tone
making a silly face
touching the other person teasingly
e.g. tickling, nudging, bumping into them
stiffening up
hard line around the lips
frozen stare
narrowing of the eyes
Part I + Part II + Part III + Part IV + Part V + Part VI
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movie poster
"Side by side, they were very much alike, in similarity less of lineament than of manner and bearing,
a correspondence of gesture which bounced and echoed between them so that a blink seemed to reverberate, moments later, in a twitch of the other's eyelid.
Their eyes were the same color of gray, intelligent and calm. She, I thought, was very beautiful, in an unsettling, almost medieval way which would not be apparent to the casual observer.“
~ Donna Tartt, The Secret History
(You know who needs this? YOU KNOW WHO NEEDS THIS?! AZIRAPHALE AND CROWLEY! *sobs*)
By @me-writes-prompts
"Look, I'm really sorry for shouting at you. I just...I just lost control. But it wasn't your fault, it was me. Please forgive me?"
"We really shouldn't have fought over a piece of dumpling, don't you think so?" "Yeah, that was rather a vague topic to argue over." (Vmin, anyone?)
"I'm really sorry, I wasn't in the right mind and vent it out on you."
"Are you still mad at me? I mean, it's okay if you are. I'm mad at myself, too."
"Can we talk?" "Yeah, yeah. Let's do that."
"I didn't mean to say you're not enough, okay? Because you are, but I am not. I am not enough to appreciate a person like you."
"I really wasn't thinking straight, now was I? I'm sorry. You shouldn't have to put up with my shit. I'll be better for you."
"Are you calm now?" "Yeah, sorry. Needed to take a time out."
Kissing as apologizing but then also expressing it in words.
Angry cuddles, because they are cold. Definitely not because they want the warmth their partner provides.
"That was a really silly argument we had last night, right?" “Hmm, yet we couldn’t stop the topic.” They try to joke.
Jef Bourgeau (American, b.1950) "The River Marsh," 2023
my color tips pdf is now available ! i had a lot of fun with this, i hope you enjoy ^^
BUY HERE or HERE
"Show, don’t tell" means letting readers experience a story through actions, senses, and dialogue instead of outright explaining things. Here are some practical tips to achieve that:
Tell: "The room was cold."
Show: "Her breath puffed in faint clouds, and she shivered as frost clung to the edges of the window."
Tell: "He was scared."
Show: "His hands trembled, and his heart thudded so loudly he was sure they could hear it too."
Tell: "She was angry."
Show: "She slammed the mug onto the counter, coffee sloshing over the rim as her jaw clenched."
Tell: "He was exhausted."
Show: "He stumbled through the door, collapsing onto the couch without even bothering to remove his shoes."
What characters say and how they say it can reveal their emotions, intentions, or traits.
Tell: "She was worried about the storm."
Show: "Do you think it'll reach us?" she asked, her voice tight, her fingers twisting the hem of her shirt.
Tell: "He was jealous of his friend."
Show: "As his friend held up the trophy, he forced a smile, swallowing the bitter lump rising in his throat."
Use the setting to mirror or hint at emotions or themes.
Tell: "The town was eerie."
Show: "Empty streets stretched into the mist, and the only sound was the faint creak of a weathered sign swinging in the wind."
Give enough clues for the reader to piece things together without spelling it out.
Tell: "The man was a thief."
Show: "He moved through the crowd, fingers brushing pockets, his hand darting away with a glint of gold."
What’s left unsaid can reveal as much as what’s spoken.
Tell: "They were uncomfortable around each other."
Show: "He avoided her eyes, pretending to study the painting on the wall. She smoothed her dress for the third time, her fingers fumbling with the hem."
Use metaphors, similes, or comparisons to make an emotion or situation vivid.
Tell: "The mountain was huge."
Show: "The mountain loomed above them, its peak disappearing into the clouds, as if it pierced the heavens."
Tell: "The village had been destroyed by the fire."
Show: "Charred beams jutted from the rubble like broken ribs, the acrid smell of ash lingering in the air. A child's shoe lay half-buried in the soot, its leather curled from the heat."