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Pastel hues in a two-bedroom London garden apartment (click for the full tour)

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Body Language
When someone is...
Sad
Face/Body:
Avoidant/reduced eye contact
Drooping eyelids
Downcast eyes
Frowning
Raised inner ends of eyebrows
Dropped or furrowed eyebrows
Quivering lip/biting lip
Wrinkled nose
Voice:
Soft pitch
Low lone
Pauses/hesitant speech
Quiet/breathy
Slow speech
Voice cracks/breaking voice
Gestures/Posture:
Slouching/lowered head
Rigid/tense posture
Half formed/slow movement
Fidgeting or clasped hands
Sniffing or heavy swallows
Self soothing gestures (running hands over the arms, hand over heart, holding face in palms, etc)
5 Tiny Writing Tips That Arenât Talked About Enough (but work for me)
These are some lowkey underrated tips Iâve seen floating around writing communities â the kind that donât get flashy attention but seriously changed how I write.
1. Put âhe/she/theyâ at the start of the sentence less often.
Try switching up your sentence rhythm. Instead of
âShe walked to the window,â
try
âThe window creaked open under her touch.â
Keeps it fresh and stops the paragraph from sounding like a checklist.
2. Donât describe everything â describe what matters.
Instead of listing every detail in a room, pick 2â3 objects that say something.
âA half-drunk mug of tea and a knife on the tableâ
sets a way stronger tone than
âThere was a wooden table, two chairs, and a shelf.â
3. Use beats instead of dialogue tags sometimes.
Instead of:
"I'm fine," she said.
Try:
"I'm fine." She wiped her hands on her skirt.
It helps shows emotion, and movement.
4. Write your first draft like no one will ever read it.
No pressure. No perfection. Just vibes. The point of draft one is to exist. Let it be messy and weird â future you will thank you for at least something to edit.
5. When stuck, ask: âWhatâs the most fun thing that could happen next?â
Not logical. Not realistic. FUN. It doesnât have to stay â but chasing excitement can blast through writerâs block and give you ideas you actually want to write.
Whatâs a tip that unexpectedly helped with your writing? Let me know!! đ
Text: You arenât supposed to feed your shadow, no matter how much it begs. Share enough meals and it will grow more and more substantial, until you may as well be looking in a mirror.
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How to make your writing sound less stiff
Just a few suggestions. You shouldnât have to compromise your writing style and voice with any of these, and some situations and scenes might demand some stiff or jerky writing to better convey emotion and immersion. I am not the first to come up with these, just circulating them again.
1. Vary sentence structure.
This is an example paragraph. You might see this generated from AI. I canât help but read this in a robotic voice. Itâs very flat and undynamic. No matter what the words are, it will be boring. Itâs boring because you donât think in stiff sentences. Comedians donât tell jokes in stiff sentences. We donât tell campfire stories in stiff sentences. These often lack flow between points, too.
So funnily enough, I had to sit through 87k words of a âromanceâ written just like this. It was stiff, janky, and very unpoetic. Which is fine, the author didnât tell me it was erotica. It just felt like an old lady narrator, like Old Rose from Titanic telling the audience decades after the fact instead of living it right in the moment. It was in first person pov, too, which just made it worse. To be able to write something so explicit and yet so un-titillating was a talent. Like, beginner fanfic smut writers at least do it with enthusiasm.
2. Vary dialogue tag placement
You got three options, pre-, mid-, and post-tags.
Leader said, âthis is a pre-dialogue tag.â
âThis,â Lancer said, âis a mid-dialogue tag.â
âThis is a post-dialogue tag,â Heart said.
Pre and Post have about the same effect but mid-tags do a lot of heavy lifting.
They help break up long paragraphs of dialogue that are jank to look at
They give you pauses for ~dramatic effect~
They prompt you to provide some other action, introspection, or scene descriptor with the tag. *don't forget that if you're continuing the sentence as if the tag wasn't there, not to capitalize the first word after the tag. Capitalize if the tag breaks up two complete sentences, not if it interrupts a single sentence.
It also looks better along the lefthand margin when you donât start every paragraph with either the same character name, the same pronouns, or the same â as it reads more natural and organic.
3. When the scene demands, get dynamic
General rule of thumb is that action scenes demand quick exchanges, short paragraphs, and very lean descriptors. Action scenes are where you put your juicy verbs to use and cut as many adverbs as you can. But regardless of if youâre in first person, second person, or third person limited, you can let the mood of the narrator bleed out into their narration.
Like, in horror, you can use a lot of onomatopoeia.
Drip Drip Drip
Or let the narration become jerky and unfocused and less strict in punctuation and maybe even a couple run-on sentences as your character struggles to think or catch their breath and is getting very overwhelmed.
You can toss out some grammar rules, too and get more poetic.
Warm breath tickles the back of her neck. It rattles, a quiet, soggy, rasp. She shivers. If she doesnât look, itâs not there. If she doesnât look, itâs not there. Sweat beads at her temple. Her heart thunders in her chest. Ba-bump-ba-bump-ba-bump-ba- It moves on, leaving a void of cold behind. She uncurls her fists, fingers achy and palms stinging from her nails. Itâs gone.
4. Remember to balance dialogue, monologue, introspection, action, and descriptors.
The amount of times I have been faced with giant blocks of dialogue with zero tags, zero emotions, just speech on a page like theyâre notecards to be read on a stage is higher than I expected. Donât forget that though you may know exactly how your dialogue sounds in your head, your readers donât. They need dialogue tags to pick up on things like tone, specifically for sarcasm and sincerity, whether a character is joking or hurt or happy.
If youâve written a block of text (usually exposition or backstory stuff) thatâs longer than 50 words, figure out a way to trim it. No matter what, break it up into multiple sections and fill in those breaks with important narrative that reflects the narratorâs feelings on what theyâre saying and whoever theyâre speaking toâs reaction to the words being said. Otherwise itâs meaningless.
â
Hope this helps anyone struggling! Now get writing.
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This article was written by Phil Straub back in 2005, and it is as fresh and vital today as it was then. Philâs tips and trick are timeless, and can help you make your images pop!
Composition is everything! No amount of detail in an illustration or Concept Painting will be successful without a strong composition foundation.
Composition in Environment Concept painting can be quite difficult since your focal point usually isnât as obvious as in a character piece. In this introduction to Composition we will explore the fundamentals used to create exciting and functional compositions along with a variety of composition techniques. Initially I will show some successful examples of iconic composition, formal composition, the rule of 3rds, the golden rule, etc. There will be a discussion on what makes each piece successful and an explanation on why the artist chose to describe the scene using a particular form of composition.
When you take the canvas area and divide it into âthirdsâ Horizontally and Vertically, where the lines cross in the picture area is a âGolden Meanâ, or the best spot in which to place your Main Subject or Object of Interest as it is the Focal Point of your picture. The golden rule originates from the Ancient Greeks, since they were great mathematicians as well as artisans, they came to the conclusion that there needed to be a certain balance in composition for it to be pleasing to the eye. They further developed this theory and defined what they called âpower points,â Power points are located at the point where the lines used in the golden rule intersect. By placing a main subject on a power point, it further defined that subject as the focal point.
The golden rule can and usually is applied to a paintings canvas proportions. As you read through the following text youâll notice that most of the imagery presented utilizes similar dimensions and almost all of them fall into the âgolden rectangle.â Today you can find the Golden Rectangle almost everywhere: from credit cards to phone cards to book covers, all are shaped with its proportions. The Golden Ratio (the ratio of the longer and shorter sides of the Golden Rectangle) also appears in many natural phenomena. The ratio between the length of your nose and the distance from the bottom of the chin to the bottom of the nose is the golden ratio. The spiral growth of crustaceans follows the golden spiral. The divine proportions are an in-built (or in-grained) aesthetic parameter we judge beauty by.
The imagery [above] represents the division of space when the âgolden ruleâ is applied to a blank canvas. Basically it is the division of a line in two sections, where the ratio between the smallest section and the largest section is identical to the ratio between the largest section and the entire length of the line. In other words A/B = B/(A+B). The ratio is about 1/1.618. Honestly, Iâm still not exactly sure what that all means? but, I do know that I used this grid layout a-lot when I first started painting and found it helpful. I still do.
In the beginning you may find it useful to use this as an overlay for every concept piece you do. Having this grid float over your imagery as a reminder of where to place the objects of importance in the scene may help you as your develop your composition.
From the golden rule came the ârule of thirdsâ which is virtually the same concept but slightly altered to fit photographic proportions.I find it a bit easier to follow since itâs very simple in its origin.Here we have a look at the rule of thirds in action.
Notice that the main focal point sits right almost directly over one of the âgolden means.â Additionally, other objects are placed near the other converging lines (the bird, for example) but, not directly on them, since that would create competition for the focal point.
There are Four Spots where these lines cross the Upper Left the Lower Left, the Upper Right and the Lower Right. Please note that all the âhotspotsâ are away from the center position in the picture frame.
The two best âpower pointsâ are the Upper Right and the Lower Right because the eye enters the picture frame at the lower left hand corner of the picture frame, travels to the center of the picture area and then reaches the right hand âGolden Meanâ position where it stops to look at the âCenter Of Interestâ.
The reason the eye enters a picture at the lower left side is because we are taught to read from Left to Right. This is a psychological fact that has been proven over the years. Next time youâre in an art gallery or art museum that shows the Old Masters paintings, notice how many have the Center Of Interest in the âGolden Ruleâ positions.
âImplied Formsâ are a combination of âImplied Linesâ and they help to hold a painting together. The eye enjoys these interesting forms and will stay in the picture area to examine each one of them, if they are present. The following text and sample imagery will demonstrate a variety of implied forms and composition approaches.
The Circle is made up of a continuous âCurveâ and itâs circular movement keeps the eye in the picture frame. There are many circles in nature and man made objects. You can use the circle in a very obvious way in your composition or simply suggest it.
 The image [below] is a very obvious and deliberate usage of circular composition. Notice how the circular shapes created by the dragons also follow a path that leads your eye towards the focal point.
Another example of circular composition! Again, I chose this type of composition to enhance the feeling of motion in the piece. You can see how the eye follows the circular shapes across the picture plane to the focal point. Something interesting to note with this image, it actually uses two composition approaches at one time; circular composition and iconic composition.
This has a âsolid baseâ and will show Stability. It also has Height and Strength. The Pyramids of Egypt have survived for thousands of years while other types of solid buildings have crumbled in to dust in less time. With the image below I was very deliberate with my arrangement of shapes so the triangle or pyramid composition is obvious. When I began this piece I simply started with a triangle shape as my starting pointâŚnothing more than an abstract composition. I just let everything flow from thereâŚ.and very quickly the painting began to take shape.
Is a connection of âLinesâ meeting in the Center and an expansion of âLinesâ leaving the Center. The Radii is usually found in Nature Subjects. The best example of the man made Radii is the spokes of a wheel.
The eye has two ways to go when it comes upon the Radii. It can either be drawn in to the picture area or it can be led out of the picture area. You must be careful how you used the Radii and try to have the eye led into the picture.
A showing of âOpposing Forceâ that will give the picture a feeling of Cohesion and Relationship. The horizontal bar of the Cross will act as a âstopperâ while the vertical pole can act as a leading line. The windows in a large skyscraper will form crosses and will keep your interest in the building. The Cross also has religious meaning and the subtle use of the Cross can give hidden significance to an image.
In the painting below Hong Kuang uses the cross composition subtly. One could argue this piece is also using an âL Composition.â The strong line across the horizontal center thatâs being formed by the characters body suggests âThe Cross.â The somber facial expression and subject matter demonstrate an experienced artistâs ability to use symbolic composition to help tell a narrative.
To the right of that is Daryl Mandrykâs work which successfully combines a Cross composition with iconic composition. This is common composition choice for themes of heroism or comics. Fantasy artists like Brom and Frazetta use this type of composition in their work regularly.
This makes an attractive âframeâ. It can be used to accentuate important subjects. Many times it is a âframeâ within a âframeâ.
A tree with an overhanging branch at the ârightâ side of the picture area will form a âRectangleâ and help frame the Main Subject in the picture. By doing this you will make the Center of Interest stand out and be noticed clearly.
Some Art theorists contend that the most important information in the image should be placed near the center of the picture plane. This may seem confusing to some students since this contradicts many of the major principles of the âgolden rule.â In general iconic composition should and can be used to describe a subject in a certain way. Iconic Composition or âFormal Subdivisionâ applies best to subjects of a dignified or religious nature. This style of composition was the approach of choice in earlier times and many excellent compositions have been made with it. Usually Iconic composition is used to describe symbolic subjects, heroic subjects, or religious subjects.
 Iâve taken the liberty of drawing over this imagery to demonstrate the division of space in iconic composition. This is a technique used by many illustrators to help define the division of space and focal point when creating an iconic illustration. Well know and renowned illustrator Andrew Loomis used this technique extremely well and his book âCreative Illustrationâ to demonstrate this further.
Notice, that while the focal point is slightly off center, all the converging lines lead to the center point of interest. Additionally, notice how the figures head sits directly in the diamond shape of the overlay lines Iâve created. It should also be noted that I chose this composition to further enhance the regal and heroic appearance of the character.
Tong Wu uses Iconic composition perfectly here! Notice how the character again falls nearly at center of the canvas. Iâve taken the division of space a bit further on this imagery and have broken down the image into smaller segments so you can so how the artist balances everything in the piece.
Notice how the top right corner is almost a mirror image of the top left corner. In fact, look at almost any opposing segment in the painting, they are very similar! When creating iconic composition, itâs not necessary to duplicate each side exactly, but there should be a feeling of complete equalization of the units or masses, the line and spaces of one side with the other.
So, there you have it, a variety of ways to deal with division of space when you first begin visualizing a painting or drawing. At the end of the day, theses approaches to composition are guides and simply a place to start. Once you become more comfortable with composing a scene you can begin to push the boundaries of formal composition.
Since most Environment Concept Artists work in the entertainment industries, its expected you will be asked to create cinematic moments or âmemorable momentsâ utilizing the environment as a stage.
 Youâll want to use your mastery of composition to lead the viewerâs eye and really make the viewer feel like theyâre in the scene. The single most important thing you simply must have in any Environment Concept Painting is a clear and dynamic focal point.
 Without a place for the viewerâs eye to rest, the painting will lack impact and wonât hold the attention of your audience. Itâs the job of the Concept Artist to visualize what canât be visualized in reality. Concept Artists are the first step in every production and therefore must create dynamic imagery that the rest of the team will be excited to build. There are a few cinematic tricks that you can use as a Concept Artist to make things appear more dynamic.
Sometimes all it takes to add an extra bit of drama to your composition is a simple tilt of the camera. In the image to the right the viewer really feels like they are part of the action, simply by slanting the camera a bit. This approach is especially useful when you are trying to depict action in your environment.
Many Concept Artists today, myself included, use perspective as a tool to create dynamic compositions that appear to have motion and lead the eye to the focal point clearly and concisely.
In the painting below you will notice Iâve used many of the objects that appear in the painting as opportunities to further guide the viewer to the âpayoff.â Additionally, I tilted the camera a bit to add to the action.
http://www.cgsociety.org/index.php/CGSFeatures/CGSFeatureSpecial/phil_straub_composition_tutorial
It's okay if it takes a little longer than you thought.

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all I can animate is just blinking them.
How to show emotions
Part V
How to show grief
a vacant look
slack facial expressions
shaky hands
trembling lips
swallowing
struggling to breathe
tears rolling down their cheeks
How to show fondness
smiling with their mouth and their eyes
softening their features
cannot keep their eyes off of the object of their fondness
sometimes pouting the lips a bit
reaching out, wanting to touch them
How to show envy
narrowing their eyes
rolling their eyes
raising their eyebrows
grinding their teeth
tightening jaw
chin poking out
pouting their lips
forced smiling
crossing arms
shifting their gaze
clenching their fists
tensing their muscles
then becoming restless/fidgeting
swallowing hard
stiffening
holding their breath
blinking rapidly
exhaling sharply
How to show regret
scrubbing a hand over the face
sighing heavily
downturned mouth
slightly bending over
shoulders hanging low
hands falling to the sides
a pained expression
heavy eyes
staring down at their feet
Part I + Part IIÂ +Â Part III +Â Part IV
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