saying ‘i love you’ without saying ‘i love you’ dialogue prompts
@celestialwrites for more!
♡ “to me, you are perfect.”
♡ "don't you realise? you are my world."
♡ "you brought me back to life."
♡ "the only way i know how to describe what i feel around you is home. i feel at home."
♡ "it's as if my entire life i have been sinking in a storm and you came and pulled me out."
♡ "you know i stayed for you, and frankly, i don't regret it one bit."
♡ "with the whole of my heart, i believe that together we are infinite."
♡ "i never intend on leaving you. you hear me? never."
♡ "thank you for being the shoulder i always needed, even when you hated me."
♡ "i can't live without you!"
♡ "never leave me, my heart couldn't bear it."
♡ "i've spent my whole life waiting for you."
♡ "consumed in darkness, you darling, were my light."
REBLOG TO SUPPORT YOUR LOCAL WRITERS!!<3
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Erik!! I keep seeing your adorable centaur OCs and I always wanted to ask what's the story behind them??
Plushi!! Sorry for the mega-late reply… 🥺I was so happy to get this ask but I didn't know how to explain my silly ocs…I will try now-more under the cut.
Dael Braam (dwarf) is a cooped up farmhand looking to see the world, but being immune-compromised from birth it took a lot of persuasion to convince her parents to let them go. They relent under the condition that she finds a capable and strong person to travel with to keep her safe… Just so happens that a strong and capable centaur knight is visiting in town…
Rembrandt (horsey) was created from a dark fusion spell by an amateur mage, who had intentions to construct a powerful warrior to do his bidding.
However, the spell cast did not result in a powerful and fully-armored warrior…. but instead a frail baby knight centaur, with only its top half made of living armor. The mage, not wanting to raise any kind of child, promptly abandons his creation. He can always try to make another one after all.
Into adulthood, Rembrandt still carries a lot of pent-up abandonment and self-esteem issues. You wouldn't know that from the proud facade he puts on though, lying about being a royal knight yet helping all those he comes across with a smile, but never staying long. When the opportunity of having a long-term travel companion (and perhaps a friend…?) arises from Dael requiring a bodyguard, his craving for companionship and affirmation outweighs his worries about her seeing eldritch elements of himself.
Dirk (beefy dragon thing) is the second (and more "successful") attempt from the same mage to create a powerful monster. Think Rembrandt's "big evil" brother. Except he's quite a bit younger. Dirk emerged fully-developed except for his wings-which remain as little nubs. Despite his brawn and warrior-appearance, Dirk was mostly a glorified errand boy, using his impressive strength to terrorize the nearby towns and their land-collecting resources for the mage.
Dael and Rembrandt meet Dirk after hearing word of a giant dragon-knight ravaging villages (and their livestock yum yum).
(I also like the idea of the mage sending Dirk to capture Rembrandt + Dael when he recognizes is his first attempt is not only alive and strong, but also quite proficient in battle.)
One way or another Dirk ends up roaming with the two. At first, Dirk is over-confident, rude, and stubborn... Overall a huge pain for them to travel with. After being shown kindness for the first time and being subject to more than a few humbling situations, Dirk allows a protective, loyal and softer side of him to emerge.
Lots of found family shenanigans and adventures occur-and yeah! This was rambly but thank you for reading about my guys! 💖
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DRAWING BACKGROUNDS: TIPS AND TRICKS
So many people are afraid of drawing backgrounds and I think it's a shame, so here's some tips and tricks, because I'm not perfect at it myself but I think the hardest part is really just knowing where to start.
First off: Perspective
Yeah, yeah, that's the scary word. But I promise you, once you're familiar with the basics, backgrounds are a LOT less intimidating. Don't get discouraged if WHEN you have trouble with it. Even professional artists struggle with it. I promise you, screwing it up is good and normal. That's how you learn after all!
Now I'm not going to go into detail on how to do it here, because honestly there are a thousand and one free resources online and in libraries that can explain it far better than I ever could in a singular broad-strokes tumblr post. But I AM at least telling you you should familiarize yourself with these basics:
Important Terms:
Horizon Line: A horizontal line across your canvas, showing your viewer's eye level and providing a location for most of your vanishing points.
Vanishing Point: Integral to drawing in perspective. The sides of a 3D object get smaller as they become farther away from the viewer in space. This point is where the parallel lines of a side eventually meet.
The Basic Types of Perspective:
One Point Perspective: Good for drawing things that you're looking at straight on.
Two Point Perspective: Good for drawing things at an angle.
Three Point Perspective: Good for drawing things the viewer is looking up or down at, especially at an extreme angle.
[Click images for ALT descriptions]
And if you're comfortable with these and serious about improving your skills for use in storytelling, I also might suggest looking up:
4 Point Perspective: Great for extra wide or tall shots and for camera tilts if you're doing an animation or animatic. I think some other names for this in animation include "banana pan" and "warp pan."
5 Point Perspective: Fish-eye lens. Good for all your angsty anime boy slipping into madness needs!
Some perspective tips I wish someone had told me earlier:
Objects' relation to the horizon line is constant.
A super helpful tip to remember when placing a character or object in space is that they will always (assuming they aren't changing in size or moving up or down) have the same relation to the horizon line no matter how far or close they are. If your horizon line is at shoulder height for your focus character in the foreground, any character of the same height in the background will still line up with the horizon line at the shoulders.
How to pick the distance between your vanishing points:
2 pt perspective uses 2 vanishing points, 3 pt uses 3, etc, etc, but how close should they be? Well, first of all, for anything that isn't one point perspective, one or more points will usually be off the canvas. Super annoying, I know, but the closer your vanishing points are, the more warped your drawing will become.
Second, a helpful thing to know is that choosing the distance between your points is basically the illustration equivalent of picking your camera lens! Photography buffs will know that wider (shorter focal length) lenses show more space and make the distance between foreground and background more dramatic, while longer focal length/telephoto lenses are flatter, and more focused and intimate. The same is true of vanishing points that are closer (shorter focal length) or farther apart (longer focal length).
2 point/3 point/etc doesn't actually mean you're limited to that many points total on your page.
this one confused me a lot when I was getting started, lol. A lot of examples will show you drawings of nice, neat cities or something, in which all the buildings are facing the same way in order to demonstrate perspective drawing. But in real life, buildings don't all face the same direction. They're at all sorts of different angles. So how do I do that??? Answer: Just because you're drawing in 2 point perspective or whatever doesn't mean you... have to actually keep your 2 points in the same spot. You can move them around, just keep them the same distance apart, so you're not screwing up your camera lens.
Other Tips:
Use reference!
The instant you try to draw a house, you're going to forget every house you've ever seen. That's just how it goes. Buildings are complicated. Do yourself a favor and collect a few reference images first, buddy!
Consider details (like architectural style, amenities, and materials)
Your building will look more like a building when you keep in mind that buildings have gutters and door knobs and light switches and paneling and stuff, and aren't just boxes with roofs on them. Again: reference! You will forget electrical sockets and baseboards exist immediately. Art brains are dumb.
Use details and texture to fill in negative space
Giant stretches of blank space tend to be boring and distracting. Put a few suggestions of wood grain or something on that wall back there, bud, just don't overdo it.
Line weight
Darker, thicker lines draw more attention, look heavier, and look closer to the viewer than lighter, thinner lines do. Take advantage of this to draw the viewer's attention to your focal points, de-emphasize less important details, and imply depth. It's up to you to decide how you want to use this and what your style is, especially once you start getting into combining or replacing it with shading, values, and color, but a helpful rule of thumb is to try reserving your thickest lines for focal foreground characters and use thinner lines on backgrounds, especially details in the far distance.
Perspective guides
If you're drawing digitally, take full advantage of any perspective tools you have access to! A lot of art programs lately have begun adding perspective guide features that let you set up vanishing points and then literally guide your hand as you draw so you stay in perspective. Some of these include Procreate, Clip Studio Paint, and Adobe Fresco. (still sadly none in Photoshop as far as I'm aware, what the heck, Adobe!). Check through the settings of yours to see if it gives you any perspective guides or other similarly useful tools. They're 100% worth it! And for god's sake, if you've got any skew or perspective warp tools, draw your complicated shapes flat and then warp them instead of spending an hour on it! Don't make my mistakes!
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