rabbitsquirrel

If I'm still up for it, I might repeat the whole thing with my classic red, yellow, blue primary dye set. For a truly massive set of heather swatches.

For anyone curious, I used brilliant yellow, deep magenta, and caribbean blue from Dharma dyes on their corriedale wool for my base colors.

I really like the oil slick quality of the color based grays!

Powerline. Acrylic and traffic marking paint on wood panel with soldered frame

my car: *triumphantly leaps six feet in the air, spraying hubcaps in victorious fervor*

Good morning 🌸

I can go upside down.

Also, for a cheat code: if you cook your characters right, you can get them to tell the reader all about themselves by how they project on other people.

This reminds me of the advice for writing image descriptions: giving the number and color of stripes in someone's shirt is nowhere near as helpful as conveying what they're doing, including a sense of how/why they're doing it (are they celebrating? are they angry? etc.)

(To digress slightly, I think that particular flavor of literal showing probably comes from writing as if the writer is a camera rather than a writer. A movie might start by showing a character frantically opening cupboard doors and the fridge, and rely on various other details - the actor's facial expressions, soundtrack - to engage the reader. And hopefully convey the sister's birthday party through a banner in the next room rather than clunky "It's my sister's birthday today, as you know..." dialogue. But as a writer, I can use my words instead, and it's often smoother to do that. And of course, one could hybridize the approaches over the course of the scene - "I grabbed the eggs from the fridge, looked at the clock, and swallowed a scream. If I had any chance of getting this cake ready in time for the party, I'd better get a move on. Standing on tiptoes to pull the mixing bowl from the cupboard, I wondered why I'd agreed to host my sister's birthday at noon when I rarely got out of bed before eleven.")