Category Archives: Drawing

Eire, Seaspray and Seal Girls – A Silent Book Project Update!

Hello again! Here’s hoping your February has been a lovely one!

Following on from my excitable first post of the year (all about meeting and drawing a vole!) there’s a lot I want to share with you!

Firstly, a proper recap on the final months of last year:

-Back in September I joined my Portishead Arts buddies for another exhibition- definitely the best yet! The highlight had to be the sale of one of my absolute favourite artworks to date- “Hook”!

SAMSUNG CSC
“Hook”, Gouache and coloured pencil. (I had such fun experimenting with movement and colour on this one!) © 2017/18 Carina Roberts Illustration

The lovely customers in question bought “Hook” for their new child-to-be, to hang in the nursery.  It’s an indescribable feeling to see something you created make someone so happy!

-I participated in my first outdoor event in October, Made in North Somerset – aside from torrential downpours throughout half of the day it was really pretty lovely- with a surprisingly determined turnout of visitors!

-The highlight of the last months of 2018, though, has to be a round trip to Dublin and Anglesey that my partner and I took. We crossed from Dublin Port to Holyhead on the penultimate morning of our adventure – my first time on a ferry since I was around 5 years old! The journey started very early in the morning, and we watched dawn break over the skyline of Dublin out in a bracing wind. It was lovely and warm inside the ferry but I was having a whale of a time out on the deck, being buffeted about and staving off my impending queasiness!

 

 

Sadly I didn’t get round to that much drawing while we were away (as per usual, we were marching about all over the place too much!) but I took a lot of reference photos!

The whole time we were away, I was thinking about “Cara” – my silent book project about the seal girl.  During the past year it’s been one of those projects I’ve constantly had on my mind, but haven’t really gotten round to writing a proper update on. Well, this is that update! Since I wrote about “Capturing animal behaviours in human form”, I’ve been working on fleshing out the world of the story, as well as breathing more life into the characters themselves. Let me fill you in!

 

Building a world, exploring the land

 

 

Howth, Anglesey and Dublin- ink studies of coastal views!

Selkie legends are told in the Orkney Islands (north of Scotland) and in communities all the way down the UK’s rugged coastline to Ireland. That is to say, although each society  would claim the idea of a seal who can shed its skin and walk on land as a human as its own, it’s really more of a widespread folk tale along our shores. I wasn’t, therefore, looking to recreate one particular area in which to set the story – the West Coast of Ireland, for example- but I was building a world based on all the settlements whose cultures have been shaped by their connection to the sea. To speak through the environment of this story, I have to make it recognisable, even nostalgic for those who have grown up among these surroundings, and capture part of the culture to explain them to those who haven’t.

A bit of a meaty aim, really.

In terms of research, though, this couldn’t have been more fun! I’ve carried my camera and my sketchbook around the UK and beyond wherever I go, and take as many notes and drawings as possible! (This ties in neatly with one of my main drawing goals from the past couple of years- GET BETTER AT DRAWING BUILDINGS!)

Those who are avid readers of this blog might remember my “Kernow” project– drawings of Cornwall from a surprise trip we took for my Mum’s birthday- completed for this purpose exactly!

 

 

In the same way that drawing from my experiences of Marazion, Penzance and St. Ives helped me to remember all the little nooks we’d discovered along the way, I realised that it was going to take lots and LOTS of drawings to build up a gradual picture of a coastal location, to create a convincing setting for the story.

Also around this time was when I rediscovered the work of one of my absolute favourite illustrators, Raymond Briggs, and began to take notes about his storytelling. (Incidentally, I watched an amazing documentary called “Raymond Briggs: Snowmen, Bogeymen and Milkmen” – if you have even the slightest interest in Mr. Briggs or his work, I urge you to take a look!) A couple of his books feature very few, if any words – the narrative is unfurled through animation-like sequences of smaller images.

The Snowman - Raymond Briggs

I started having a go at some sequential narrative inspired by how Briggs tells his stories.

Jowder's Hallway (Final) © 2017 Carina Roberts Illustration
“The Hallway” – a short sequential narrative exploring a character’s movement through their home. (Reference- cottage in Marazion, Cornwall) © 2017/18 Carina Roberts Illustration

With his processes in mind, and in order to make use of all those reference photos I’d taken in Dublin, Anglesey and elsewhere too, I challenged myself during Inktober this year to draw a short journey that could somehow inspire, or fit into, the story of Cara.

 

“The Bike Ride” – Quink ink, white pencil, calligraphy ink.

The resulting month’s drawings (above) introduced a typical weatherbeaten, salt-sprayed village recovering from a coastal storm. Only one figure really features throughout the whole sequence- unintentional when I begun the drawings, but useful to realise partway through the challenge, as I started to think of the project as a 31 “frame” glimpse through the eyes of someone who travels through it every day. This sequence became a way to introduce both of my main characters- like in a photo album, each image represents some memory to the little lad Ronan of the day he found an injured seal. As I worked on his physical appearance in tandem with this sequence, I thought about how I could symbolise elements of his personality in these little thumbnails.

For example, the sea is pivotal to setting the scene of the story, but having it feature in so many of the images could suggest that this little boy thinks about it a lot – does water calm him when he’s had a bad day? Or could he even see the sea as a threat, something he’s afraid of perhaps? And the aforementioned lack of other characters featuring throughout the panels- does he prefer to be alone, or does he simply live in quite an isolated community? Could he even be lonely?

This explosion of questions revealed a whole new side to the characters I was designing- particularly this little chap. Understanding more about his personality meant that I could now go all-out to design a character to match!

 

Traits embodied- character design progression over the last year

Over the course of the previous few months, Ronan has been emerging slowly, shyly- a thoughtful young fellow, quite the opposite to the exuberant seal-girl he befriends.

(Below- some of my first sketches deciding on Ronan’s appearance!)

Ronan sketch 72DPI © 2017 Carina Roberts Illustration
“Ronan” – An early sketch and reference point. Woolly hair, salt-stiffened but carefully kept. © 2017/18 Carina Roberts Illustration
Ronan sketch - Coat 72DPI © 2017 Carina Roberts Illustration
“Ronan’s Coat” – Experimenting with a big layer of clothing a shy child can hide behind and inside… © 2017/18 Carina Roberts Illustration
Ronan's Home Final (Low Res) © 2017 Carina Roberts Illustration
“A quick rest” © 2017/18 Carina Roberts Illustration
Ronan and Cara 72DPI © 2017 Carina Roberts Illustration
“Meeting the locals” – Ronan’s method of rescuing an injured seal. (Also, a quick impression of how a native might react to a seal in the middle of town!) © 2017/18 Carina Roberts Illustration

Something I’ve really enjoyed planning is how I can portray characters without any of the clues that might come from dialogue- this is a wordless picture book, after all! When developing both Ronan and Cara, this has forced me to concentrate my efforts on their expressions and body language almost exclusively to show their complimentary personalities.

I rediscovered the classic series “Camberwick Green” and its sibling programme “Trumpton” back in October 2018 when I wasn’t feeling well. Interestingly, I observed that throughout both programmes, mouths are really only visible on characters that are speaking loudly or shouting- a lot of the story is told through their gestures and expressions instead!

Screen Shot 2018-12-10 at 10.55.04
Captain Snort of Pippin Fort- his mouth is often visible as he shouts at his troops!
Screen Shot 2018-12-10 at 10.53.17
Concentration… Mickey Murphy the baker’s mouth is rarely seen, he’s too busy to be talking!

 

(Left- “Ronan’s jumper” – experimenting with textures and patterns inspired by the Aran wool shops in Dublin. Right- building on sequences of movement, and subtle expression which can still say a lot!)

Ronan expression sheet FV (LR) © 2019 Carina Roberts Illustration.jpg
“Early expression sheet” – Planning subtle emotional responses of Ronan. Some expressions are missing- for the boy who feels deeply, but doesn’t always show it…     © 2019 Carina Roberts Illustration

“Camberwick Green” became an important influence in character development- and not just for Ronan! The energetic, animated gesticulations of some of the busier characters gave me a great deal of inspiration in how to portray Cara’s personality through her movements. As a reminder from my previous post, this was how she began:

“… a human character with all of the heart, soul and playfulness of a seal. Clumsy, comical on land, unbelievably graceful in water. Cheeky, intelligent, sometimes greedy; inquisitive, sometimes shy and others very aggressive!”

To begin with, I had worked on aligning Cara’s seal and human counterparts- for example carrying through her colouring as a young seal, replacing her whiskers and mottled fur with hairy eyebrows and freckles. Very quickly though, I realised that something was missing- in a lot of traditional depictions of the selkie which I’d looked at in my early research, the human aspect ended up being willowy, slim; with none of the substance and weight of a seal.

So I’ve been studying heavier, rounder and stronger body shapes, to unite Cara in both of her skins!

Cara simplified sketch (LR) © 2018:19 Carina Roberts Illustration
“Seated” – An early digital sketch to work out simple shapes to include in Cara’s form. © 2019 Carina Roberts Illustration
Cara character sketches (levels, neatened - FV LR) © 2019 Carina Roberts Illustration.jpg
Experimenting with rounder shapes- how might borrowed, loose clothing fall around Cara’s seal-like form?  (Beginning to explore textures) © 2019 Carina Roberts Illustration
Cara lineup (LR) © 2019 Carina Roberts Illustration
How can Cara’s gestures occupy space, in order to demonstrate her exuberant personality? (Continuing exploration of borrowed clothing.) “Cara studies” – 2019 Carina Roberts Illustration

 

(Above- (Left) Inquistive exploration of a new environment- how would a seal react to household objects? (Right) “Patchwork Bundle” – Exploring textures, form and bright colours. © 2018/19 Carina Roberts Illustration

What Does A Seal Dream? LR © 2019 Carina Roberts Illustration
“What Does a Seal Dream?” © 2019 Carina Roberts Illustration       Bright colours reveal Cara’s sunny personality with no explanation needed!

 

My mind has been bursting waiting to share this work with you! I’m so, so happy with how this concept is developing- another update will be along later in the year! In the mean-time, please never forget the importance of your more personal projects- when your heart and soul goes into something, it really shows!

Next time, I’ll be discussing the design process for some new dog-themed Mother’s Day greetings cards I’ve produced this year!

Until then, all the very best of wishes,

The AutumnHobbit

© Carina Roberts and AutumnHobbit. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Carina Roberts and AutumnHobbit with appropriate and specific direction to the original content.

 

 

 

 

 

 

Happy New Year- Vive la Vole!

Happy New Year to each and all! If you celebrate Christmas, I hope you gave and received some lovely things!

I know this isn’t the post I had planned to release next, (a silent book project update is almost ready!) but during the past few days a fire that has long been dwindling in me has roared up in the grate- I feel more well, and feel as though I have more energy than I have in months- so I had to make the most of it! (And this is one of those short, sweet posts that’s just bursting to get out!)

One small part of why I’ve been feeling so fantastic is because I have a new hero- a wildlife artist called John Busby. I received a book of his called “Lines from Nature” as a present – please, please seek it out if you have any even slight interest in animals, nature or drawing!

Not only are the artworks in this book technically brilliant and full to the brim of character, they are also observed completely from life- this dedicated man braved all weathers and environments to make drawings again and again, in order to truly understand his subjects.

Shortly after getting sucked completely into this gift, I was lucky enough to meet a vole close up – my partner’s Dad sometimes finds the little tykes in the kitchen, and he’ll keep them for an extra day or two if he knows we’re visiting so I can draw them. (And a five star treatment they get too, sometimes with added Radio 4 if he’s working nearby!)

Glimpses of a Vole 29-12-18 (Web) © 2018:19 Carina Roberts Illustration

 

The vole was very timid the first time I went in- I gently put a small handful of peanuts into the vivarium and sat waiting, as still as I could be. He darted to and fro collecting, giving me a suspicious eye as he ran between the food and his nest made from moss and woodland detritus. I had to be very quick to get him down on paper, but not move so violently as to startle him. When there were no more peanuts, he dived back inside and that was that.

Glimpses of a Vole 1-1-19 (Web) © 2019 Carina Roberts Illustration

The second time, three days later, I tried sprinkling some sunflower hearts out for him instead of peanuts- a bit of variety, and a little experiment to see if he behaved any differently. Now, maybe I caught him at a different “cycle” in his day, or maybe he felt like he knew me a little better (I’d like to think that the latter is true, but it’s very unlikely!) – whatever it was, this snack really brought him out of his shell. Instead of hoarding them away like the peanuts, he came out to nibble them in full view! (In fact, at points, it was almost as though he was posing!)

And what a little character he was, gazing over one shoulder at me! You know when a dog scratches its head with back leg? It may surprise you to hear that voles do it too! After solving the itch his head had a very sweet little ruffled patch right in the centre of his forehead (see above drawing!)

Two fairly short (no more than 30 minutes each) drawing sessions later, I had really started to break the ice with this little fellow. It was such a fresh flash of excitement to draw completely in the moment like that- something I hadn’t done for a while, or at least not properly. In day-to-day life there are always time constraints, your mind wanders and feels guilty for things you should be doing, that a bit of live scribbling somehow isn’t as important. But it is, it REALLY is.

There is a lot, a LOT to learn here for me. Yes, I can think, I can plan (that’s part of who I am) but I also have to embrace the moment- not all is perfect in life, or in artwork. Sometimes the unplanned scrambles up steep hills and through driving rain will be more fun, and teach you more than the interactions and parties you spend your life rehearsing.

Equally, I can spend hours upon hours at my desk, perfecting my next artwork or deliberating for hours over the phrasing of a message to this or that particular client, but most valuable can be the quick observations I can make just because I took a sketchbook somewhere to draw from life. Instinctive, honest sketches- which can speak in less words than I can,

I

CAN

DO

THIS!

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The AutumnHobbit

© Carina Roberts and AutumnHobbit. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Carina Roberts and AutumnHobbit with appropriate and specific direction to the original content.

A catchup, and what’s coming up!

Hello jolly sailors!

Yet again, it’s been a little while- hasn’t it been a summer and a half!? Not only have I been busy, probably like you I’ve been battling the sizzlingly un-sportsmanly temperatures that have been beating down from above throughout June and July. With cool breezes arriving just in time for the school holidays, I can finally breathe again- and update you on what I’ve been up to!

Back in May myself and my partner went to Malta to celebrate the wedding of two friends (and to acclimatise ourselves to the 30 degree heat!) It was absolutely gorgeous there and we had so much fun catching up with lots of our friends who live spread out across the globe!

Malta cove - Aug18.jpg
A Malta Cove – at the very beginning of our trek over the clifftops from Xlendi to San Lawrenz (home of the tragically collapsed Azure Window) – I still can’t get over the shade of this water!

On one beach we spotted some funny little fish popping their heads out of the holes in the rocks as the waves broke over them!

Being surrounded by water for most of this trip inspired me to start thinking about the SWLA annual “Natural Eye” exhibition again- it’s something I missed last year, but was at the top of my “to-do” list for this year. I know I can be pretty bad for shying away from big competitions, but since I was long-listed for the Templar Illustration competition in April I thought I’d give it a go!

After exploring three or so separate avenues I could go down for this project, I chose to circle back to seals as my muses (they seem to have crept into most of my other work over the past year or so!) My partner, along with his parents and I were planning a trip to Skomer anyway so I thought I could get some serious research done there (and have a proper go with some most excellent binoculars I was kindly bought for Christmas!)

Sadly, despite our early arrival, (we left the house at 4:30AM!) balmy conditions and fair shipping forecast, an ill wind was set to blow up in the afternoon so the boats were cancelled- it wouldn’t have been safe to get back, so they said. (I’m not upset, honest- even though it was our last chance to see the puffins this year!) We did see some seagulls through the binoculars- not really the same, but they worked very well!

This means I did have to turn to different sources to research seals on this occasion – below are some of my development sketches from working towards the final composition!

^ Exploration of on-shore behaviours of seals- interactions with friends and family! This would form the core inspiration for the final artwork.

Seals progress v2© 2018 Carina Roberts Illustration
Colour test, and playing with composition!
SWLA seals - final design progress v2
Sketching out the final piece… Hello you chaps!
Haul-out (Final) - 72DPI
The final piece- “Haul-out”!

 

You might remember that at the start of the year I set myself the goal of exploring more varied lighting, tone and shapes within my artwork? You also might remember that I’ve been using a personal wordless picture book project (which I’ll eventually enter into the Bologna Silent Book comp!) to practice these principles (click here to read a previous post about this project!)

Well, coupled with the artistic motivation that comes from of a long weekend trip to Dublin I returned from yesterday, this project has come on in leaps and bounds! I’ve been delving into the various environments of the story, as well as using my research from the SWLA competition to explore a seal’s reaction to a human habitat… But more about that next time!

For now, enjoy the autumn breezes, and hope you don’t have too many sneezes!

P.S. I’m involved with a couple of shows over the next couple of months where I’ll be showcasing some of my artwork (dates and details below) – with the slow makeover of this blog I’m hoping to introduce a separate section of the website to show upcoming events in the next couple of weeks, so you don’t have to go trawling through posts to find them.

For now though, here is where you can come and visit me, and maybe buy something too!

Upcoming events 

Cafe Lido exhibition with Portishead Arts – 27th-30th September 2018 

(Cafe Lido, Esplanade Rd, Portishead, BS20 7HD)

Made in North Somerset Showcase – 14th October 2018 (10AM-4PM)

(Court house farm, Church Road South, Portishead BS20 6PU)

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The AutumnHobbit

© Carina Roberts and AutumnHobbit. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Carina Roberts and AutumnHobbit with appropriate and specific direction to the original content.

 

 

 

Shape and colour – rediscovering the palette knife!

Hello again, radiant readers!

It’s been a busy few months since my last post, and I have lots to share with you!

I’m so excited to announce that I was longlisted for the Templar Illustration Prize a few weeks ago… My name was officially listed within the top ten entries, which was such an incredible surprise! I unfortunately wasn’t selected in the final three shortlist, but I got so much further than I thought I would- it’s an amazing step for me as an illustrator!

A short snippet about that to begin with- it was a really interesting project to complete, we had to submit a cover design, storyboard to explore the book’s narrative and layout, and a completed artwork spread for a book about dragons aimed within the age bracket of 0-12 years. I learnt a lot during this project, and visited some pretty interesting places for research (one, a birthday trip to St. Fagan’s in Wales – to study and draw old buildings!)

"Cover" FINAL ( + text) © 2018 Carina Roberts Illustration.jpg
The final draft cover of my dragon themed project for Templar’s 40 Year Illustration Competition- “The Island”. © 2018 Carina Roberts Illustration

 

Alongside what is becoming my signature painting style of gouache and coloured pencil (with a teeny bit of ink thrown in!) I explored (and revisited) lots of different mediums and techniques to decide how to create the final artworks for this project. Bleach and lemon juice into ink to produce botanical patterns, scraping and “rock rubbing” to create texture…

At the core of this exploration was the underlying principle to simplify all elements of the final artwork which weren’t the direct focus. For example, in the cover artwork depicted above, I spent days painting sea and waves to come up with a way to make them noticeable, but not so detailed that they would distract away from the dragon floating in the middle. I needed a way to produce flowing, swirling water which could look different every time I painted it, a technique with a little bit of a mind of its own…

Then I rediscovered my Grandma’s trusty old palette knife.

I haven’t used a palette knife since the second year of university during a life-drawing lesson with oils, but I thought I’d give it a go for this project.

Painting stripes of pure colour onto the palette knife and dragging it across the page produced some really interesting sketchbook studies, as well as scuffing back across dried blocks of colour to create waves. (Scuffing a little paint across a very finely-textured sketchbook page can give some really interesting textures too – as I’ll explore a little later on!)

Geometric Waves
Painting the sea! © 2018 Carina Roberts Illustration

Something I’ve always shied away from when painting flowing or floaty objects without clear lines is using geometrical shapes to help build the final outcome. As the palette knife I was using has one long, tapered point, I thought I might break down some walls and attempt a rough sea constructed from triangles.

Triangular Waves
A close-up… © 2018 Carina Roberts Illustration

While it seemed a little alien to be be painting something which moves about so much in such a static way at first, the exercise of using triangles to create this ocean really helped me to build a sense of background and foreground, as well as liveliness in the waves. Blocking simple colour in like this allowed for more complicated processes over the top:

Little Red Boat - Top to Toe
Sample oceans to hold a little tugboat. © 2018 Carina Roberts Illustration
Little Red Boat
© 2018 Carina Roberts Illustration
Little Red Boat v2
Stripes of colour applied to the palette knife, (darkest at the bottom, lightest at the top) placed on the page and dragged in a single diagonal movement from top left to bottom right really worked as a technique to create larger, more dramatic waves for the little boat to perch atop! © 2018 Carina Roberts Illustration

After this project was finished and sent off, I turned my head back to getting some Spring/Summer animal themed greetings cards designs ready for 2018. In a similar train of thought as when I was working on “The Island”, I wondered how I could use the palette knife to help bring new depth into my artwork.

SAMPLES OF EARTH

Again, the decision in using the palette knife to work out a backdrop in these greetings cards was to lend more sharpness to the foreground focus- be it animal, mineral or vegetable- equally adding some context to the main attention of the artwork, in this case a mole burrowing.

In the development stage of this particular design I used similar dragging techniques as I had when exploring the water in “The Island”, as well as loading up the palette knife with mixed colours to dab and scrape over pre-dried layers, to create bobbles, lumps and lines, as you would find in real earth.

Earth sample 1 (smaller file)

Earth sample v2 (Smaller file)

Earth Sample 4 (Smaller file)
Scraping the first layer of dark colour across the clean page at the bottom seemed to help accentuate the dandelion roots!! © 2018 Carina Roberts Illustration

Next, came the moles, happy burrowing in Spring through the damp earth for the juiciest earthworms!

Mole selection
Using a paintbrush for the foremost element of the design, the main character, helped to keep the outlines clean- as well as brighter colours, cementing him the focus of the whole shebang.     © 2018 Carina Roberts Illustration

Little mole spring blank v2 Mole sketch v3Little mole spring blank v1 Little mole spring blank v1.1

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Above are some snippets from next stage of the development for this design; some of the thumbnails from working on the final layout. The palette knife scrapes began to suggest the flinging of dirt as the mole speedily dug away his tunnel, placing him firmly in his own little story. If the mole had no backdrop here, he might look a little as though he was swimming or floating through space, but having that extra layer lets him reveal to the viewer a little piece of his life. (As my skill lies mainly in narrative illustration, you can see how it seeps into all of my other projects too!)

One thing I really want to attempt next is rust- as a side-note for my silent book project I’ve begun a small sketchbook on boats as research to support a couple of the spreads, so whenever I’m in a port or seaside town I’ll be a-scribbling, with particular interest in the older behemoths which are busy oxidising and gathering sealife!

My next post will be based around an AMAZING trip to Malta, (I arrived back yesterday!) – it’s given me some really interesting ideas for my SWLA (Society of Wildlife Artists) competition entry – another little something I’ve been meaning to do in the past, which I’m really knuckling down to enter this year!

Thanks for reading- hope you’re having a great time wherever you are, and continue to find a little inspiration in every day!

The AutumnHobbit

© Carina Roberts and AutumnHobbit. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Carina Roberts and AutumnHobbit with appropriate and specific direction to the original content.

 

 

 

Disruption and peace- A snow adventure!

Good evening, lovely ones!

As amber snow and ice warnings sweep the country for the second time this month, I thought it was time for an “emergency broadcast”, as it were, that interrupts my normal posting schedule.

Instead of this being a panicky message of impending doom, however, this is an excited short post about some serious inspiration that is going to open up a whole new way of keeping sketchbooks and conducting research for me which I wanted to share!

I was recently in one of my favourite places in the world to be- in a large bookshop, in a comfy seat, browsing through lots and lots of different books. I found a particularly special one which I couldn’t just leave behind…

It’s called “Explorers’ Sketchbooks: The Art of Discovery & Adventure” and features the notes, sketches and paintings of a great number of explorers, detailing the essence of what made their trips into the unknown so brilliant. There are drawings from explorers who sat dangerously close to volcanoes, sketching and painting their lava patterns; journals exploring whole civilisations previously undocumented, and flora and fauna from the first voyages to new lands (including some of the first ever drawings made on a deep sea dive!)

For a person like me, whose young self was frightened of so many things, this book would’ve been amazing when I was young- to transport me to places I never felt I could reach. Now, as I grow older, I love it even more; it reminds me how far I’ve come since then, how now I feel more confidence to seek out things which frighten me to conquer, as well as a colossal burst of inspiration for projects to seek out in the future.

It got me thinking; the whole concept of a explorer’s journal is a fantastic lesson for any illustrator or artist- drawing on location, especially in challenging conditions, reveals so much more than drawing retrospectively through photographs. It not only teaches you to be less precious about things that you put in your sketchbook, but forces you to make notes in a different way to how you normally might.

Taking inspiration from some of the explorers I’ve been reading about, I ventured out into the freezing conditions today for a short ‘expedition’, to draw in the blizzard-like conditions which have been storming about. The bitter chill of the wind forced me to keep my very thick gloves on, which made it a lot harder to get the range of movement in my hands which I’m used to. The cold acted as a great pressure not to care too much about getting things perfect, and just concentrate more on gesture and movement.

Snow Diary p1 (Low Res) © 2018 Carina Roberts Illustration
Hedge and hill and snowy tracks
Snow Diary p2 (Low Res) © 2018 Carina Roberts Illustration
Blasting snow flurries (top, middle) ; the old barn (bottom)
Snow Diary p3 (Low Res) © 2018 Carina Roberts Illustration
Brave figures venturing out in the midst of the cold!
Snow Diary 4 (Low Res) © 2018 Carina Roberts Illustration
Determined parent with some very excited children!

I’m not yet ready to settle on one subject to study for the rest of my life yet (like one particular animal or place), but the whole concept of exploring shown through the accounts of these incredible men and women opens up a world of new possibilities. As I near a deadline particularly important to me it was good for a moment just to step back for a few hours, look at things from a slightly new angle, and think dreamily about the great many things I’ve yet to study and understand in my artwork.

After all, even if it’s true that I now won’t be the first person up Everest, or under the sea- nobody will, or ever again see those things through my eyes. And that’s a little bit exciting.

The AutumnHobbit

© Carina Roberts and AutumnHobbit. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Carina Roberts and AutumnHobbit with appropriate and specific direction to the original content.

 

 

 

Kernow- A visual diary!

Happy New Year all!

What a wild and stormy start to 2018! Here’s hoping you’re warm and dry, and haven’t been affected by the wind and rain too badly!

I wonder how many people out there started this year (or any new year!) feeling a little anxious? A whole 365 new days stretching out from here to what feels like eternity, full of expectations, resolutions and challenges- a certain desperation in feeling you HAVE to do something new and exciting this year while still fulfilling all of your previous commitments? I’m sure it’s most of us!

In the past feelings like this have overwhelmed me- there’s so much that I want to do, that I’ll take on too much at once, and feel bad because I didn’t finish everything I wanted to. Now, I’m trying my best every new year to think of something specific to focus on for the coming months in order to better my practice (and myself) to really target my weaknesses!

For example, I’ve never really liked drawing buildings. As a child, animals, humans and landscapes always caught my attention- they seemed to offer so much more in terms of colour, texture and movement to work with. As my love and skill for drawing more organic subjects grew, the frustrations with drawing buildings just multiplied. Perspectives of streets confused me, windows and bricks just always came out looking so … boring. Much like you can often tell an artists’ mood by looking at their artwork, you could tell a lot of my relationship with drawing buildings from my project work – a hope, a desperation to make it look perfect, then a flat, dull finished piece where I’d once again given up.

A couple of years ago, on a resolution-making day, I thought a lot about drawing buildings. I thought about my university course, and my wonderful tutors who had always seemed to know how to help me out of my comfort zone into something I was really passionate about. It’s been at the back of my mind ever since- when I went to Dublin and Edinburgh I took hundreds of pictures to help me study oddly shaped and colourful buildings, and dedicated a section of my external hard drive to artists who had drawn or painted them.

In Rain - Ludwig Bemelmans
Ludwig Bemelmans – from “Madeline” – “In Rain…”

I discovered two key things during this ongoing study.

a) My buildings didn’t have to be architecturally perfect. Not every window, door and brick had to be identical- in fact, the more I embraced the different shapes as opposed to getting bogged down in the detail, the more improvement I noticed.

b) The interest in buildings for me doesn’t necessarily lie in how they look… Their relationship to outside effects- eg. age, weather, daily routines happening around them is where their appeal lies.

In November of last year, my brother and I organised a surprise trip to Cornwall for my Mum’s birthday. Despite my previous studies, I realised during this visit that I’d never completed a project solely based around buildings. So, over the next couple of months, I documented our journeys around Marazion, Penzance and St. Ives through the buildings we came across, as often as I could completing a piece per day as a warm-up. One of my official New Year’s resolutions was to complete this project, and this post is designed to share it with you!

Kernow- A Visual Diary – © 2017/2018 Carina Roberts Illustration

The King's Arms (signed) 72DPI © 2017 Carina Roberts Illustration
“The King’s Arms” – Marazion

 

St. Ives Street (72DPI) © 2017 Carina Roberts Illustration.jpg
“St. Ives Street” – St. Ives
St. Ives Street 2 - Elderly couple © 2017 Carina Roberts Illustration
“St Ives Street 2 – The Climb” – St. Ives
St. Ives Fishmonger (72DPI) © 2017 Carina Roberts Illustration.jpg
“Fishmonger” – St. Ives
St. Ives Day (72DPI) © 2017 Carina Roberts Illustration.jpg
“Daily Route” – St. Ives
Marazion High Street (72DPI) © 2017 Carina Roberts Illustration
“High Street” – Marazion
St. Ives Street III Final (72DPI) © 2017 Carina Roberts Illustration
“St. Ives Street 3”
Marazion High Street - Night Final (low Res) © 2018 Carina Roberts Illustration
“Night” – Marazion
St. Ives Street 4 Final (Low Res) © 2018 Carina Roberts Illustration
“St. Ives Street 4” – St. Ives
Cornish Pub sketch final (Low Res) © 2018 Carina Roberts Illustration
“The Sloop Inn” – St. Ives
Penzance Harbour (Low Res) © 2018 Carina Roberts Illustration
“Penzance Harbour” – Penzance
Penzance Pub (Low Res) © 2018 Carina Roberts Illustration
“Penzance Pub” – Penzance
Market Place- St. Ives (Low Res) © 2018 Carina Roberts Illustration
“Market Place” – St. Ives
Marazion street painting (Low Res) © 2018 Carina Roberts Illustration
“Marazion Street” – Marazion
Jowder's Cottage (Low Res) © 2018 Carina Roberts Illustration
“Jowders Morning” – Marazion
Washing Day Final Artwork (72DPI) © 2018 Carina Roberts Illustration
“Washing Day” – St. Ives
Beach Garden Final Artwork (72DPI) © 2018 Carina Roberts Illustration
“Beach Garden” – St. Ives
Marazion Dusk Final Artwork (72DPI) © 2018 Carina Roberts Illustration
“Dusk” – Marazion

 

I’m slowly improving in my building painting- in that I’ve learned a huge amount about why I always hated them as subject matter, and how I can apply the skills I’ve enjoyed in illustrating other things to making them interesting to me!

As you can see from some of these pages, I’m also actively doing a lot more work with different types of lighting (which has also scared me in the past) – another of my resolutions this year! There’s a post I would like to write soon about a very showery walk I went on recently up quite a steep hill- the patches of cloud and sunlight dancing across the blustery sky made for some really impressive lighting, which is my next challenge to have a go at painting since finishing this mini-project!

There’s a lot to look forward to this year, and a lot of work to be done… But that’s how I like it!

The AutumnHobbit

© Carina Roberts and AutumnHobbit. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Carina Roberts and AutumnHobbit with appropriate and specific direction to the original content.

 

 

 

 

 

“Cara”- Capturing animal behaviours in human form

Cara sleeping © 2017 Carina Roberts Illustration

Hello my lovelies!

It’s been a while again, hasn’t it? This particular post has been a long time coming, but as it concerns a very special project I couldn’t rush it!

As I mentioned back in August, this time I’ll be discussing the development of a human character with all the grace of a seal, in a story I’m devloping which draws upon one of my favourite Irish legends. This project will eventually be put forward as an entry for a competition, so I’m not going to share much of the finished work until it’s all submitted. I can, however, share with you my process thus far of how this character has developed!

A little to begin with for those who haven’t yet understood the Irish legend I’m referring to.

The Selkie was a mythical creature who lived as a seal in the water, who by shedding its blubbery skin on land, would become human. Most of the stories I had read about Selkies had been sad, mostly where female Selkies had come ashore to have their skins hidden by possessive men who wanted to marry them for their beauty. If the skins were not found, the Selkie would remain trapped on land and could never return to the ocean.

Poor seals!

One thing I always found a little strange about the classic depiction of all the lady Selkies was their grace and poise on land. Of course, they may have been journeying out of the water every week to practice walking on land for all I know, but it got me thinking; how might a Selkie be who had never been out of the water before? Would they know how to walk down a flight of stairs, or sleep in a bed?

I wanted to create a human character with all of the heart, soul and playfulness of a seal. Clumsy, comical on land, unbelievably graceful in water. Cheeky, intelligent, sometimes greedy; inquisitive, sometimes shy and others very aggressive!

To begin this journey, I had to plunge headfirst into the realm of the seal.

The Seal Study

Seal behaviour sketches (Low Res) signed © 2017 Carina Roberts Illustration .jpg
Seals drawn from BBC’s “Wild Ireland”.

Despite being one of my most favourite animals, I had never seen a seal in real life before setting out on this project. I’d seen sea lions at the zoo when I was younger, but they just weren’t the same (and also not native to UK or Irish waters.) In this case, the study of a seal’s behaviour was my first step in creating this very special character.

I did some research, discovering that one of the best times to see seals on land was during their breeding season, beginning round about September. One of the best places in the UK to track them down was apparently in West Pembrokeshire, on and around Skomer island. So, my partner and I made the trek across, to discover that the boat (due to bad weather) was not running that day. The crossing for Skomer is very near a National Trust walk around the Marloes Peninsula which we decided to do instead, to see if we could spot any of the elusive grey seals we were after from the cliff edges.

We were not disappointed.

Marloes Seals 2 (Detail 2) (72DPI) © 2017 Carina Roberts Illustration
Mother seal, making her way into the cold Pembrokeshire ocean. © 2017 Carina Roberts Illustration
Marloes Seals (Detail) (72DPI) © 2017 Carina Roberts Illustration
Waiting for the wave to pass… © 2017 Carina Roberts Illustration

Marloes Seals 1 (72DPI) © 2017 Carina Roberts Illustration

Seal sketches- Pembrokeshire (Low Res) © 2017 Carina Roberts Illustration
Young seal pup still sporting its “lanugo”, (fluffy white baby coat) dragging itself across the sand to visit an older relative.

After this experience, I was looking everywhere for more seal inspiration to draw from. The first sketchbook I started for this project is absolutely bursting with hundreds of seals- from life, books, television, anywhere they could be found.

Seals eating plan
Did you know, a seal commonly has 3-6 pairs of eyebrows? © Artwork 2017 Carina Roberts Illustration

I began to look for detail in each seal that I could use to start drafting a closely linked human character. The huge, liquid eyes, dark facial markings, and fluffed out, podgy, strong bodies of the animals I was studying were all things that seemed important to help draw the comparison between the two.

Cara seal expression sheet final (Low Res) © 2017 Carina Roberts Illustration.jpg
“Cara” – Exploring her human form. © 2017 Carina Roberts Illustration
Cara detail portrait (Low Res) © 2017 Carina Roberts Illustration.jpg
“Cara Portrait” – Dark whiskers on the seal pup’s face become a maze of freckles and thick eyebrows.  © 2017 Carina Roberts Illustration

After plenty of initial scribbling to begin to understand how Cara, as I named her, would translate into her more human guise, my next step was to explore how her movement might register as comically un-human. The natural starting point was to teach her how to walk.

Cara learns to walk (Low Res) signed © 2017 Carina Roberts Illustration.jpg
“Cara learns to walk” – Sketch page. Trying to keep the low gravity and toddling, unsteady gait of a much younger child was my aim in “teaching” Cara to walk as a person. © 2017 Carina Roberts Illustration

Every action Cara undertakes as a person initially has to look deliberate, determined and a little clumsy, to match the seal inside. Despite being a book concept, I have begun to plan certain spreads in my first dummy version of this story as you might a hand-drawn animation- exploring movement by movement how best to present a particular scene and different ways she might tackle them. As a method of working this hadn’t been planned from the start- but for a character with such unusual movements it’s far becoming my favourite!

Cara meal sketch detail (Low Res) © 2017 Carina Roberts Illustration.jpg
“The Meal” – detail from a sketchbook page. “Her freckled face peering inquisitvely over the bowl’s rim.” © 2017 Carina Roberts Illustration

One sequence I’m planning at the moment involves Cara’s first meal as a human. This would be the first instance where she would encounter crockery, cutlery, sitting down to eat (as well as table manners!) I’ve heard it said by many veteran illustrators that the best images depict the split second before something happens. Drawing close to frame by frame has helped me to determine the moment between intrigue and face-first feasting within this scene!

This is going to be a long journey, but one I feel really excited about. I’m still planning the first dummy draft of the full book, but each page of this is surrounded with notes- notes of research and reference material that will help make this world more real, as well as different, possibly more effective alternative spreads that I can trial alongside the one in this first draft. Like a comedy routine, it takes a lot of work and rehearsal to find the perfect joke- and to find the most effective ways to present the lovable, clumsy, and kind-hearted soul that is Cara.

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Next time I’ll be sharing a visual diary from a recent trip to Cornwall- a mini-project I undertook to tackle some of my illustrative worries head on!

Thanks for reading!

The AutumnHobbit

© Carina Roberts and AutumnHobbit. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Carina Roberts and AutumnHobbit with appropriate and specific direction to the original content.

 

Movement in Murmurations- Exploring patterns in the natural world through classical music

Good afternoon, lovely ones! Hope your weeks are all going well!

Last time, I told you the tale of a little house martin chick and my once-in-a-lifetime drawing experience with her. (If you didn’t get to read it yet, just have a quick scroll, you’ll find it beneath this post – “A Precious Thing”.) A quick update- she had her first flying lessons indoors, and has since been fully re-released back into the wild! She’s probably off on her own adventures by now, using those new fully-grown wings!

Around a month ago I found out about the SWLA exhibition held through the Mall Galleries in London – Wildlife Artist of the Year. I’m afraid I was a little over-optimistic in planning something to enter for the competition this year, but I’m slowly going to be developing my research over the coming months, ready for next year’s competition.

Completely by chance, and neatly linking into the house martin’s story since last time, I wanted to follow a bird theme for this competition. I so often draw mammals that birds weren’t really getting the recognition they deserved, and as well as wanting to try something a bit different, they were on my mind anyway due to my work earlier this year on the RPSB’s Big Garden Birdwatch at nursery.  Although the final artwork for the SWLA competition is far from fruition, I thought I would share some of my process up until now- as I really believe it could be something special!

The co-ordinator of a drawing event I attended a couple of years ago referred to the way I drew as “lyrical” – that I described not only my reference material but also the music I listened to at the time. I had been listening quite a lot to Rossini’s “The Thieving Magpie” Overture over a week’s period while working on a separate project, and one evening after reading the brief for the SWLA competition, the song and an earlier memory of some starlings grouped and swirling over a park in Wales (a murmuration) paired up in my mind.  I got thinking about how patterns in some classical music fit so perfectly within nature- and decided to do a little research.

As many things in nature are, I discovered that the pattern of a murmuration occurs through mathematics (more specifically in this case- mathematical chaos; where very small changes have a huge impact within the larger system) as every slight movement by each bird within a murmuration is amplified by all the other birds flying directly around it, creating the waves and rippling effects. The few times in my life I had seen a murmuration, I couldn’t help but conjure up a mental picture of a musical score, with all the birds within the pattern as individual notes within an orchestra, acting individually but also within the larger pattern of the whole. How could I replicate this in a drawing? As an experiment and something outside of my comfort zone a little, I decided to listen to some classical music and try drawing lines to describe what I was hearing. The drawings below are based on the aforementioned Rossini overture- “The Thieving Magpie”, or “La Gazza Ladra”. (You could try listening to it as you look at the following experiments- see if you can spot where the patterns came from!)

Murmuration ink sketches (Low Res) signed © 2017 Carina Roberts Illustration.jpg

Step One – Feeling the music out!

The lines and marks that came out of this initial exercise follow the pitch and movement of the music.

After that, I followed the lines I’d drawn with tiny dots, or tiny birds, to bring the “murmuration” to life. The process was a little daunting at first, especially as the pen and ink I was using has a tendency to “blob” a bit! (Although after the first ten minutes, I actually quite liked the imperfection of the ink blobs!)

Murmuration ink sketches 1 (Low Res) signed © 2017 Carina Roberts Illustration .jpg
Adding in the starlings, the beginnings of weaving each line together

As I attempted to follow the music in shape, I also tried to match the volume to the weight of the line I drew. As I begun to add the starlings in, I followed the same pattern- with more birds in the thicker areas, and just a scattering in the wispy lines. (I would like to try removing the lines to see what shapes I’m left with here, but that’s something for later!)

Murmuration ink sketches (Low Res) signed © 2017 Carina Roberts Illustration
And now, for the crescendo…!

As the speed and volume of the song built towards its end, so did the patterns… the spiral that begins at the left hand side of this page came from the final minute of the overture. Filling this space with birds was probably the best part of the whole exercise, and although it doesn’t ring completely true to how starlings might fly in real life, I’m sure there’s elements of this wild drawing that I can expand upon for the final artwork! After all, every bird in this spiral is attempting to fly as close as it possibly can to its neighbour: the ripple created at the bottom of the murmuration becomes less tense, and more and more amplified as it moves outwards- the same theory to how a real murmuration works!

I look forward to the next few months developing this idea and sharing updates on my progress along the way- it’s something a bit different to what I usually do, but that’s the most exciting part!

Next time, I’ll be writing a little about my progress on my silent book concept for a different competition (yes, finally! It’s been a while, but as promised, I’m getting round to it!) and how I’ve been developing a human character who has all the grace and appetite of a young seal!

The AutumnHobbit

© Carina Roberts and AutumnHobbit. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Carina Roberts and AutumnHobbit with appropriate and specific direction to the original content.

 

A precious thing!

Dear readers,

Happy July! I hope that wherever you are, you get the chance to have at least one icecream in the sunshine in the coming weeks! (If you’ve already had one… Get another for yourself and a friend so they can enjoy a treat and your overwhelming generosity!)

I’ve got so much to tell you about, I have been writing furiously about projects I’ve been working on over the past couple of months (including an update on the silent book concept I first mentioned at the end of last year!)

At the moment they’re all sat waiting for final edits in my “drafts” folder, but my aim is to release one every two- three weeks now (as I haven’t been very good with keeping up with my blog posts yet this year!)  – I’ve got a few crackers to share!

Something incredible happened this weekend, though, that before I could release any of my previous writing I HAD to share with you; before I burst with excitement, love and gratitude. A once in a lifetime experience, both fascinating and humbling.

For about a month I’ve been pretty down in the dumps after recovering from a particularly nasty flu bug. You know the type: the kind that karate-chops you to your knees and sends you packing to bed, and when you try to get up and make an effort to do something productive (to break the seemingly endless tedium of feeling teary and sore and sorry for yourself) it all goes a bit pear-shaped, your concentration is at 0% and the whole horrid cycle starts again. The sort that you’re sure is just hanging in there until you do one too many things in your week again, and re-releases all your favourite smash hits (like your amazing manly chesty cough that lends your impression of Tom Jones an extra something) and you just know it’s about to claw it’s way back to full strength again.

I went to visit my partner and his parents in order to hopefully throw this bug off once and for all; with fresh air, exercise and to see some animals.

And see some animals I did.

My partner’s father had taken in a house martin chick which was the only survivor from a flooded nest. He hadn’t suspected it to be alive much longer, but after over a week of feeding it with tweezers it had transformed into a plump little creature, with open, clear eyes and adult feathers just beginning to develop. I witnessed her many mealtimes and even had a go at feeding her, which was beautiful in itself- the food preparation “station” was next to her makeshift nest, and as we cut up the food into manageable pieces for her to swallow, she would cheep incredibly loudly and flap her tiny wings in excitement.

I asked one evening if I might be able to draw her. We brought her makeshift nest to the table, and the lamp my partner’s father used to keep her warm at night was used for a bit of extra light. As soon as I opened my sketchbook, she began to cheep, watching my every move with her tiny, beady eyes. She was around a foot away from me, and I could see every little detail on her tiny body; the youngster fluff clinging to the top of her head like large eyebrows, her perfect little wings and tail, with juvenile feathers coming through. I have never seen eyes so small or intense, each one no bigger than an individual blackberry pip, watching me with unbroken concentration, trying to work out if my pencils were food or not.

With music coming from the next room, I recognised an Irish folk song cover, the tune to which I learnt from the “Song of the Sea” film by Cartoon Saloon. I can’t speak Irish, but I know the title is “Dúlamán”, and even if I can’t understand the lyrics at present I know what the words should sound like, so I always have a good crack at singing along. As I drew I instinctively started humming and mumbling along, quietly so as not to frighten the little creature sat inches away from me.

And, in the way that she only ever did before when she was full and sleepy, the chick stopped cheeping. She looked me square in the eye as I sang, almost as though she was listening. I carried on drawing, but I barely looked down at my paper. Those tiny eyes held my gaze so ferociously I didn’t dare. In those precious moments I could almost see her first flights, her migrations, perhaps further than I might ever get in all my years in her first three or four. She sat silently until the song had finished, then almost as though she had been paused, she began cheeping and watching my paper again.

I have never stared for quite so long into the eyes of a wild creature before, but there was something in that sitting that is what every art tutor or teacher in the land tries to convey when they say they prefer you to draw from first-hand experiences, from life. There was energy rumbling through that little chick’s whole being that I never would have understood just from a photograph. Someone told me once that my work can be quite “lyrical”- if I listen to music as I draw, some of it in translated into the lines I use. Singing to that little creature allowed me to record just a tiny ounce of that experience into my favourite sketchbook.

All at once, that one intense, three minute eye-lock has cured me better than any flu medicine ever could.

Housemartin final 72DPI © 2017 Carina Roberts Illustration
A beautiful creature. © 2017 Carina Roberts Illustration

The AutumnHobbit

© Carina Roberts and AutumnHobbit. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Carina Roberts and AutumnHobbit with appropriate and specific direction to the original content.