"Oh yeah, there's a few," she says. "Not all from me, and not all for just you--some of them are from him, and there's at least one there for both of us. It's a little ominous. You can open that one too."
This one? It's the one Pyrrha is so proud of and also nervous about. It's a family portrait in ink and watercolor, but it looks like an out-take of a more serious portrait session.
There's Teja in his big-G Goth finery, seated in a vaguely thronelike chair, with Pyrrha in her small-g best standing behind him, a hand on his shoulder. Egil, on Teja's lap, is reaching to pet one of the cats, also on Teja's lap; Teja is watching him with obvious affection and tenderness, and Pyrrha's watching too, leaning in to say something to Teja.
Another of the cats is perched on the arm of the chair, looking triumphantly down at a third cat, who is looking up and preparing to jump to claim the territory. The fourth cat, lounging on the floor in front of the chair, is the only one actually looking out at the viewer.
no subject
This one? It's the one Pyrrha is so proud of and also nervous about. It's a family portrait in ink and watercolor, but it looks like an out-take of a more serious portrait session.
There's Teja in his big-G Goth finery, seated in a vaguely thronelike chair, with Pyrrha in her small-g best standing behind him, a hand on his shoulder. Egil, on Teja's lap, is reaching to pet one of the cats, also on Teja's lap; Teja is watching him with obvious affection and tenderness, and Pyrrha's watching too, leaning in to say something to Teja.
Another of the cats is perched on the arm of the chair, looking triumphantly down at a third cat, who is looking up and preparing to jump to claim the territory. The fourth cat, lounging on the floor in front of the chair, is the only one actually looking out at the viewer.