Category Archives: Story

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.

 

 

 

“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.

 

Winter Fairs, First Frosts and The Grey People

Hello, and a Merry December to you all!

I’d like to start this post with a little story and observation that is particularly relevant at this time of year, I feel. When I was on the train a couple of weeks ago, returning from a trip to Hull during the wild weather, I was gratefully munching down my ham sandwich and peering out of the window at the ever-darkening landscapes flashing past. At every station, a handful of people would get on, wedging themselves into seats and cuddling in tight into their layers of clothing to try and thaw from the chill wind. Evidently, they were cold, and tired, and just wanted to get home- I understand. But a couple of them seemed to be saturated in this grey cloud, staring through my smiles and nods of acknowledgement and away again.

I’ve experienced this before, a few times, with a few characters really standing out in my memory as totally “grey” – one man I encountered on the bus a few months ago being the example that my memory will always jump to. He was the sort of character you just wanted to go and hug, and tell him that everything was going to be okay- life seemed to have sucked all the colour and joy from his bones, leaving his eyes dull and his mouth downturned. At this time of year, I always think of one of my very favourite stories of all time, “A Christmas Carol” by Charles Dickens, and its main character, Ebenezer Scrooge. I always couldn’t help but feel sorry for the greedy old miser described in the tale. I remember a feeling of curiosity rather than despair or hatred the first time I heard the story: he was cold and unfeeling, yes, but why? I would wager that through the given descriptions of his youth, loneliness would be one of the largest reasons for Scrooge intially finding solace in his money and business, which would later cut him off from his peers, and also his heart.

Now, by no means will I, or can I, ever pass judgement on strangers I meet in the street- every soul has a thousand unspoken problems and worries that may glaze their eyes and leave them lost and unsure, and a little grey around the edges. We will all experience a period of this greyness, where life seems dull, repetitive and not heading in the direction we’d hoped. Money will be a worry for all of us at some point too, unless you’re incredibly lucky. But, I have realised, my greatest fear is that this will creep slowly, irreversibly into a heart and strip a person of all their character, all their passion and loves in life, until they lose all their colour permanently. People remember Scrooge for his tightfistedness, but I remember him for his indifference- his withered soul devoid of love for anything or anyone.

This Christmas, please help me in my main life’s aim- to prevent the onset of “total greyness” in everybody you encounter, including strangers. Please smile, be kind and generous in spirit- and you can help keep hearts warm, and the world more loved.

On that note, I’m overjoyed to announce that I’m currently still adding to a catalogue of greetings cards for “Thortful”, a new web-based “marketplace” which will officially launch in the New Year, which centres around a philosophy of making people happy- both creators and customers!

My cards will finally be available online!! They’re all animal-based, as with a great proportion of my work this year! The site is now live before its official launch, if you’d like a sneaky peek please follow this link to view my current collection!

In my last post, I mentioned a Christmas Fair I was participating in on the 5th of December. I’m pleased to say that it was a success- a step up from last year, and I received lots of lovely comments and compliments as well as making a fair few sales! Here’s some of the highlights in pictures:

5-12-15 Greetings cards photoPrince of Snow at craft fair5:12:15 Christmas Fair Stall Photo

As you can see from some of these images, bears have kept cropping up throughout my practice for a good while now. Any of you that look at my Facebook site as well as this blog will have seen a specific album dedicated to this study, which contains a few snippets of a personal project I’m working on (and one I am determined will be published!) My next post in January will contain a few little teasers of artwork that have been developing my ideas, as well as a short writeup of my influences so far.

I think all that remains is for me to wish you all a very Merry Christmas (and a God Jul to all of my Norwegian friends celebrating today!) – spend these special days with all your dearest ones, laughing and making merry. Presence will always trump presents, after all.

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.

Summer, Inspiration, and the balance of things.

Helloooo my fine readers! It’s been a while since I wrote a main post for the blog- I’ve been updating other sections here in the meantime, particularly “Story Corner”, which is totally new and very exciting! If you haven’t had a peek yet, please go ahead- I attempt to update at least every month with a poem or story of my own creation, illustrated of course! They’re all child friendly, and the whole idea behind it is that I want people to share stories with each other more- storytelling is supposed to be an activity that brings people together, after all! (There’s more info on the section itself, take a click in the bar above!)

How is summer going for you? Summer days seem to last forever, so I hope you’re taking some time to enjoy the sunshine!

I was talking to a good friend of mine the other day who had her graduation this week- her hard work was rewarded with her BA in Surface Pattern Design! A huge congratulations to anyone and everyone who won the battle against their degrees this summer, I hope you all had an equally brilliant time surrounded by friends and family- and managed not to throw your hats directly back down into your faces!

She was a little worried, though, as I’m sure a lot of you might be, about that lingering something that’s at the back of your mind throughout your final few weeks at university…

WHAT HAPPENS NOW?!

As it’s exactly a year now since my own graduation, I wanted to write this post for everyone who’s taking that leap of faith from uni into the big, bad world of the creative industries- and hopefully offer you some support with figuring out what you want to do next, with my own experiences since leaving… Mainly focusing on that chicken and egg question, ahem:

DO I LOOK FOR A STABLE JOB? OR DO I FOLLOW MY DREAMS? 

(Nb, of course, the choice is often not this black and white. But if you want to go freelance, you might understand what I mean here.)

When I graduated all sparkly-eyed last year, I was worried. Everyone was. For a lot of us, education was the main thing we had known since we were five years old, more if we had attended pre-school. As many of us decided not to continue with the Masters course, it would be the first memorable year in our lives that we wouldn’t have an institution to return to come September; the first year when we would have to create our own routine from scratch.

I can guarantee that no matter how cool and collected your friends may have seemed on the surface, we were all terrified of this. Absolutely knee-knockingly terrified.

Over the next couple of months, a lot of my friends got jobs to fund their artwork. Some had decided after three years of university that illustration was not the direction they wanted to take with their life- they would obviously keep their art as a hobby, but not as a business- and have found great happiness in a completely different direction. Some began part-time work, so they would have enough time to run a small art business as well.

But this began to scare me even more. A lot of the part-time hours went up gradually- the people whose contracts they were often didn’t mind, as they were earning more, and could save lots more for nice things… But after speaking to a few of them, I heard similar answers that amounted to the same thing: “I don’t really draw any more. I don’t have time.”

Art and Illustration was all I wanted to do. Ever since I could draw and knew the words for it. And the idea that another job could take over to the point where I couldn’t draw or paint anymore really shook me up. I looked for creative jobs that might include what I wanted to do (children’s illustration) but most of the jobs I found were a lot more admin or computer-based, and were looking for candidates with a lot more experience than me. I wanted to be right in the thick of it, illustrating picture-books and fiction, so I knew I was probably going to have to freelance it. So I followed my heart on that one, and for almost a whole year, I’ve dedicated all my time to illustrating- improving my skills, and selling work, paintings mainly. (Of course, I’m quite lucky in the fact that I don’t have as many expenses as some of my peers, so the pressure was off a little there.)

It’s been really good, in the main! Anyone who reads this blog often will know that I display my work in a lovely community interest gallery and shop a couple of towns over: they’ve given me some great opportunities that extend beyond my exhibitors fee as well, such as helping to paint a Shaun the Sheep that was donated to a local school as part of the trail that’s just opened in Bristol (thanks Aardman!) using a design from the 8-year-old winner of their design competition. I’ve had great fun doing a Christmas Market and being part of this year’s North Somerset Arts Week show in Portishead- from which I received two commissions from a truly lovely lady- the final paintings were delivered this week and she was very chuffed!

But something that people might not mention about freelancing is that it can sometimes get a little lonely. When you have projects on that you love, and are truly inspired by, you will never feel it. You’re transported, often into the worlds you’re creating- and unless the inspiration runs out, or you’re really hungry, you love working alone because you can hear yourself think so clearly. A huge proportion of my year has been like this.

But it’s when the doubts start that it can become a problem. The day that you feel pressure because you’re not selling as much as you hoped this month, even though next month it’s fine. The day that even after 10 attempts, your drawing just doesn’t look right. The day that you wake up dreading going downstairs to work because your drawing went wrong 10 times yesterday, and why are you even doing this anymore? In most jobs, you will have other people around you as a support network, but unless you have a critique group that you’re a part of, as a freelance illustrator you might be tempted to go it totally alone (sometimes out of pride!)

As someone who feels pressure quite often, this was becoming a problem. I was sticking to my written schedule like glue: if I for some reason hadn’t racked up my 40 hours of work on projects during the week (usually due to other clubs or voluntary things) it would spill into my weekend. I was probably trying to do too much in a day, and then feeling let down that I hadn’t managed it all. I felt pressured because I always like to look ahead- to save for a rainy day, and all my profits were going back into the business.

Around mid-April, when I was handing out leaflets for the North Somerset Arts Week in the local area, it was something that was plaguing my thoughts. Not constantly, of course- there were still lots of days which would fly past and I’d feel happy and accomplished at the end of them- but it was a recurring dilemma when I was feeling bad. Do I get another job to ease my finances and allow me to save a lot more, but risk not having time to draw? Or do I continue being completely freelance, and sometimes being subject to intense worry that this might not work out? I saw a colourful leaflet in one cafe I delivered to that was advertising for “bank staff” at a nearby nursery. I picked it up, initially thinking, “that sounds fun, and could be great inspiration too. I won’t get it, but I can have a look, at least.”

I got in touch. The lady was really lovely, even though their recruitment day had passed she said they were still looking for new bank staff, and that if I’d like an interview, she could set me up with one. I thought of this in the same way I do commissions or projects that don’t work out in the end: “it would be great to try, and great experience, even if it doesn’t work out.” The interview went well. The second part came around, where I had to design an activity to do with some of the children whilst being observed. I had spoken to the interview panel about my other job being an illustrator, which went down brilliantly- so I wrote them a short story about a magic tree, and illustrated it- and encouraged the children to draw their own magic trees at the end (see Story Corner for the full story and image!)

I was offered the job. The manager was lovely: she said she was aware I had another job and that I could say no to them at any time, she asked if I had any preference on days, and she was very happy for me to come in two-three days a week, depending on who needs cover, and keep the other two for my illustrating. I’ve done my first two weeks, and all three of the managers have told me what a fantastic job I’m doing. They had a BBQ yesterday for the staff, and raised a toast to everyone for their help so far this year, and they even invited me. When I asked if they were sure as I had only just started, they said that I was one of the family already.

And this, my friends, is the moment I had been waiting for. It was one of the greatest times since leaving university that I’ve felt respected as an illustrator: they gave me flexibility and pressure-free kindness to flourish. I probably was feeling pressured because I was putting pressure on MYSELF- to draw this, to draw that, to do my accounts because they need doing, to finish that submission BECAUSE YOU WANTED TO FINISH IT BY LAST WEEK AND IT’S TAKING FOREVER, it’s never going to be perfect, so just check it once more and send it how it is!

And you know what- contrary to my worries, this job has actually helped my illustration work like you wouldn’t believe. The children (those hilarious, amazing, lovely children!) are giving me me bucketfuls of new inspiration- they always want me to read them stories, (they have some of the most fantastically written/illustrated books out there in their bookcase, so it also acts as more market research as to what they like!) and I could start a book with the fantastic things they ask or tell me. I’ve junk modelled boats and motorbikes, eaten four pretend icecreams on the trot, sang songs about monkeys and frogs, and had lots of cuddles.

And by observing my kind, lovely and efficient bosses, I’m learning how to be a better boss to myself. I am becoming even more decisive about what I need from my illustration hours each week: I’m almost finished organising my sample folder for Andersen Press full of new work!

In fact- this post has been rather text heavy: so here’s a little sneak peek from my Animal A-Z which will feature a couple of characters in this sample folder! Here is Bertie MacMannon, the Highland Cow- or rather, H is for Highland Cow! (Take a look at my Facebook page, http://www.facebook.com/CarinaRobertsIllustration for the other animals!)

Bertie

So, finally, my advice to all you new graduates who are worriers like me:

Think hard, and follow whatever it is you want to do (and don’t worry, it might well change!) Don’t just take a job because it’s a job. Take a job that will nurture the rest of your life- if you want to illustrate too, like me, make sure it pulls you in the same direction as your artwork, so you don’t feel torn all the time. RESPECT YOURSELF. Don’t accept a job from anyone who is going to milk you for all you’re worth; take illustration work and part/fulltime work that is going to push you, accept you for who you are, and help you succeed. If they don’t respect you, they shouldn’t have you. The same goes for fulltime freelancers- be the boss to yourself that you would want in another person!

And above all- don’t feel like you have to choose between your heart and your head. Sometimes you can follow both, and come to the same endpoint!

Keep going with what brings you joy, I’m rooting for you all!

– 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.