#WalkToSee is baaack! The hashtag responsible for over 120,000 drawings (join in!)

Summary

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The Good Ship Illustration – Episode Summary

Podcast: The Good Ship Illustration
Episode: #WalkToSee is baaack! The hashtag responsible for over 120,000 drawings (join in!)
Date: October 10, 2025
Hosts: Helen Stephens, Katie Chappell, Tania Willis

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Overview

This episode celebrates the return and refreshing of the popular #WalkToSee Instagram hashtag, encouraging illustrators to draw from life and connect as a creative community. The hosts share stories behind the hashtag's origins, discuss the challenges of drawing in different sketchbook sizes, and chat about creative routines and seasonal inspiration.

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Key Discussion Points and Insights

1. The Origins and Evolution of #WalkToSee

• Helen reflects on creating #WalkToSee in 2018 to celebrate life drawing in all environments—not just urban scenes—and to encourage sketchbook sharing on Instagram.
  • "Seven years’ worth of drawings on Instagram. 120,000 contributions so far. Isn't that amazing?" – Helen (00:41)
• The hashtag expanded from a focus on walks to become a broader celebration of all sketchbook drawings, domestic or otherwise.

2. Issues with Instagram’s Hashtag Sorting & Relaunch Strategy

• Instagram changes made it hard to share recent contributions, as the platform no longer shows posts in date order.
  • "So for a little while, I just stopped sharing completely." – Helen (02:21)
• The solution: monthly themed prompts with unique hashtags (e.g., #WalkToSeeWeather for October), allowing recent work to be easily shared and showcased.

3. October Prompt – "Walk to See Weather"

• This month's theme encourages participants to interpret "weather" however they like: urban, rural, or even just rain down a window at home.
  • “Draw the rain falling down your window, whatever, whatever, however you interpret it.” – Helen (03:25)
• Participation is flexible—draw once, every day, or anywhere in between.

4. Sketchbook Format—Big vs. Small

• Helen shares her struggle readjusting from large to small sketchbooks, noting her comfort with big “A3 that folds out to A2” sizes. She finds it challenging to scale down her observations and drawings in a café or public place.
  • "Turns out I am so out of practice in a little sketchbook...somehow that skill has gone." – Helen (04:07)
• The group discusses how shrinking the canvas affects what and how they draw, and how using different materials can help break out of creative ruts.

5. Materials and Tools for Drawing on the Go

• Helen's breakthrough: switching from pens and pencils to paint sticks and Sharpies for filling backgrounds and creating dynamic sketches in smaller formats.
  • “My breakthrough last week was when I decided to take paint sticks and Sharpies because the Sharpies will draw over the paint sticks.” – Helen (06:19)
• They discuss the importance of experimenting to find the best portable art kit—thin liners, water brushes, even toilet roll for quick-drying.

6. Overcoming Inhibition About Drawing in Public

• Hosts swap tips for drawing in public without self-consciousness:
  • “I don’t really mind. There are times, I think, when I think I really want to get on with this and I could do without anybody speaking to me. But then I have my rude body language that defends me.” – Helen (10:15)
  • “I’ll put my earphones in even if there’s nothing playing because then people think you’re in your own world.” – Helen (10:31)
• Katie jokes about making a high-vis jacket saying "go away," highlighting the real but surmountable anxiety many feel about sketching publicly.

7. Authenticity in Sketchbook Drawing

• The hosts discuss "policing" the hashtag to encourage drawings from life rather than over-rendered images from photographs.
  • “When I’m sharing all my stories, I am a bit… a Walk to See police. I am.” – Helen (12:34)
  • “You need to see that panic in a drawing where the weather’s moving.” – Katie (12:42)
  • The value of imperfection—those “panicked” or hurried marks show true engagement with life.

8. Creative Routines and Autumn Inspiration

• The group shares what they're looking forward to creatively this autumn, emphasizing play and low-stakes art-making.
  • “It’s always nice to do something that feels sneaky and nothing to do with your other creative work.” – Helen (14:57)
• Helen enjoys “lino cutting” sessions with her daughter, appreciating the process for the conversation and togetherness as much as the result.
• Katie’s season revolves around apples: juicing, crumbles, and soon, making cider with a wooden barrel and apple press.

9. The Value of Creative Community and Studio Life

• Tania talks about moving into a new studio space with a vibrant mix of artists and creatives, appreciating spontaneous interactions about materials and techniques.
  • “It’s a really interesting mix of people. So I can go and ask Catherine next door, is this the best way to film the color course?” – Tania (18:45)
• They contrast this with the more isolating, corporate environments and underscore the benefits of creative camaraderie.

10. Memorable, Relatable Moments

• Helen’s confession about her “secret fat charcoal” and love for ‘bad materials’ stands out:
  • “I do not want Windsor and Newton selling me something. I want a biro free from the hotel.” – Helen (08:09)
• Katie recounts a quote about slowing down and “dilly dallying” as an intentional, pleasurable way to interact with the world.
  • “There was a man needed an envelope... he wanted to go to the shop and buy one envelope, because, ‘I will tell a lady her baby looks nice and I will stroke a dog and I will go into the shop.’” – Katie (17:11)
• Tania shares accidentally drinking her husband's special edition whisky after a night with friends—a casual moment of domestic comedy.

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Notable Quotes and Memorable Moments

On the spirit of #WalkToSee:

• “Seven years’ worth of drawings on Instagram. 120,000 contributions so far. Isn't that amazing?” – Helen (00:41)

On drawing in public:

• “I don’t really mind… I have my rude body language that defends me.” – Helen (10:15)
• “I’ll put my earphones in even if there’s nothing playing…” – Helen (10:31)

On embracing imperfection:

• “You need to see that panic in a drawing where the weather’s moving.” – Katie (12:42)
• “Panic in a drawing really does something, doesn't it?...Anything that makes you feel a bit uncomfortable stops you overthinking.” – Helen (12:53)

On freeing yourself from precious materials:

• “I do not want Windsor and Newton selling me something. I want a biro free from the hotel.” – Helen (08:09)

On creativity as play:

• “It’s always nice to do something that feels sneaky and nothing to do with your other creative work.” – Helen (14:57)

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Timestamps for Key Segments

• 00:34 – The birth and evolution of #WalkToSee
• 02:20 – Instagram hashtag issues and the monthly prompt reboot
• 03:15 – This month’s theme: #WalkToSeeWeather
• 04:07 – Struggling with small sketchbooks
• 06:19 – Material breakthroughs: paint sticks and Sharpies
• 10:03 – Tips for drawing confidently in public
• 12:03 – Authenticity in sketchbook sharing
• 14:25 – Creative plans for autumn and the appeal of playful projects
• 15:39 – Lino cutting and parent-teen creativity
• 17:11 – The joy of slow, intentional living (dilly dallying)
• 18:43 – Studio community experiences
• 19:38 – Katie’s apple pressing adventures
• 21:13 – Tania’s accidental whisky mishap

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Conclusion

With open invitations to join this month's #WalkToSeeWeather challenge and encouragement to embrace imperfection, the episode is a warm, lively exploration of the everyday lives of illustrators. The Good Ship Illustration anchors its listeners in both community and creativity, reminding them that everyone struggles sometimes—and that’s all part of the process.

"If you’ve been looking for a reason to get to do some drawing, this is it." – Katie (14:32)

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Transcript

[A]

Sa.

[B]

Hello.

[A]

Hello.

[B]

Right, Helen. Yeah, I want to hear about Walk to Sea. What's this exciting stuff?

[C]

Okay, so Walk to Sea is a hashtag that I launched on Instagram. It turns out in 2018.

[B]

What?

[C]

It took me a good hour of looking through things, trying to work out when I launched it. 2018, that's seven years ago. Seven years worth of drawings on Instagram. 120,000 contributions so far. Isn't that amazing? So I started Walk to Sea to celebrate drawings made from life in a sketchbook. And at the time, I remember looking at all the drawing hashtags and seeing loads of drawings of cities. You know, like the city. What are they called? Some of the urban sketches and things. They're full of brilliant drawings, but they're all cities. And I wanted to see what people were doing indoors. The domestic stuff, like the everyday stuff. Like, when you go on your walk, what do you see on your walk and what might you draw on your walk? So I started it off. That's why it's called Walk to Sea, because it started off as let's draw what we see on our daily walks. Like, at the time, I was dropping my daughter off at little school and doing drawings on that little walk to school and back every day. But then it felt too restrictive, and Walk to Sea has just become big celebration of everything drawn in a sketchbook. And yeah, that went swimmingly. For a few years, every weekend, I would choose all of my favorite Walk to See sketches from Instagram, share them on my stories. People would go and find each other, and it built up this amazing community of everybody chatting about sketchbooks. But then maybe a year, two years ago, Instagram stopped showing the hashtags in date order. So if I click on Walk to See now, I'll get stuff from a couple of years ago and from today and just jumps about all over the place. So I couldn't share them on my feed on a weekend anymore.

[A]

That's why it stops.

[C]

So disappointing. So annoying. If I did, it would just have to be a random selection from any date going. Going back to 2018. So for a little while, I just stopped sharing completely. And then. Was it you, Tanya, or was it my niece, Holly? One of you said, helen, why don't you relaunch Walk to Sea? And then I was thinking about it and thought, if it. If every month it was a slightly different hashtag, like Walk to Sea on the move, Walk to See, black and white line, or whatever, then every month all I've got is the work of that month. And then I can share it and celebrate what's been done recently. So that solved the whole problem. So now, last month was the first month I started the new prompts. So every month, beginning at the first of every month, I'll launch a new prompt. This month, October is walk to sea weather, because we're going to get some good skies in the autumn, aren't we?

[B]

Lots of weather.

[C]

Lots of weather, yeah.

[A]

Perfect. And that makes it really easy to draw whether you're in a city or in the countryside or whether you're stuck at home looking at it out the window.

[C]

Draw the rain falling down your window, whatever, whatever, however you interpret it.

[A]

And will it be a whole month?

[C]

Yeah, each one is a month. And then I'm not expecting everybody to draw every day because there's no way I would manage that. You can interpret it any, any way you want. You can draw once, you can draw every day, whatever you like.

[A]

And how will you look every weekend? When are you going to post?

[C]

I'm actually so excited about it that I'm also looking during the week. I'm looking at it all the time because it's really exciting. Yeah, there's loads of good stuff on there. So share it whenever you want. And you just use the hashtag this monthiswalktocewether.

[A]

Did you say you were. You were trying to work on sketchbooks, small sketchbooks?

[C]

Well, yeah. So last month, walked to sea on the move. I thought, brilliant, I'll get my little sketchbook out. I'm gonna. Every time that I go out, I'm gonna go and sit in a cafe or something and draw in my little sketchbook. Turns out I am so out of practice in a little sketchbook. I'm so at home in a massive sketchbook, like an A3 one that folds out to a two. I love that size. And I like putting it on the ground, putting my paints and things around me, taking up loads of space with it, setting myself in for the afternoon and just filling up a big sketchbook. But I used to be able to draw in a little sketchbook. Somehow that skill has. Has gone. I don't know why.

[B]

Even at art club, you have massive paper.

[C]

I always choo big paper. I just really like it. Yeah.

[A]

But I wonder what it is technically in the brain, whether scaling down hand, eye coordination and the physical space. Or is it that a small sketchbook means you've got to bet your entire drawing on one thing. You can't really draw a scene in a small sketchbook. You can draw things.

[C]

I've been so my sketchbook is about a 4, 5, half an A4 sheet, you know what I mean? And when I open it out, it's two sheets of A5 landscape.

[A]

Oh, that's quite big.

[C]

So it is actually. There's quite a bit of space in there, but for some reason I just. I've just can't get that knack. And. And when I'm in a cafe or something, I'm looking at the whole cafe, the ceiling, all the stuff behind, and I have to. If somebody sat near me, I feel like I'm having to shrink them down too small. As I've gone every week and try. I've been doing it for four weeks and the drawings are getting gradually better. And I will share that. I'm going to share them all to show the progress, like how disappointing and how frustrating it was at the beginning. Like, how can I be running this hashtag when this is my drawing? You've got to see them. They're so bad. But yeah, every time I'm doing it, they're getting slightly better. Slightly better, yeah. Stick with it.

[B]

I'm excited to see these drawings.

[A]

What are you using to draw with? Is it drawing with or is it the picture in your head?

[C]

I think it might have been the things I was drawing with. I was just taking a pointy implement like a pen or a pencil because it's a small sketchbook. And my breakthrough last week was when I decided to take paint sticks and sharpies because the sharpies will draw over the paint sticks. So my paint sticks will fill in like a huge area in the background and the sun coming through the window and shadows and. And I really like all that stuff. So that. That has really helped. I think I was taking the wrong.

[A]

Materials because we always talk about this. What is it the best kit to take out when you're sketching. And I'm going to try and put this kit together because I think a thin black line, one of those brushes that you've. You fill yourself with like a little bit of sludgy gray. You could fill it with tea or.

[C]

Just watered down ink and toilet roll because you need to dry that quickly.

[A]

And you can get a texture with your.

[C]

But I take all of that sort of stuff when I go out and draw in my big sketchbook, I'm not frightened of taking wet materials with me. But on a tiny sketchbook in the corner of a cafe or on a train, I thought dry materials are easier, aren't they?

[A]

Is it because they're uninspiring? Because I can't draw with just drawing things anymore.

[C]

But why did I used to be able. So I used to be able to. But I think I'm out of practice. I used to take a tiny A6 sketchbook on a train and easily draw just with a biro and have nice drawings.

[A]

I couldn't do that now. A biro in a sketchbook.

[C]

Yeah.

[A]

I'd be really uninspired. I don't know why I couldn't.

[B]

86 in a biro was like my nanny sketchbook. Because you could put it in a pocket.

[C]

Yeah.

[B]

And just whip it out and be.

[C]

A tiny one and then put it away. Also, I like the rebellious of a biro because it's rubbish, isn't it? And it smells. Got that spiral smell. And I really like that. Like it's hardcore bad, isn't it? And I'm really like. That inspires me. Hardcore bad material.

[A]

It's a trigger for Helen. I really like that. These are not for drawing.

[C]

I do not want Windsor and Newton selling me something. I want a biro free from the hotel.

[A]

I bet you lined paper to draw on as well.

[C]

Yeah, yeah. An old exercise book. Yeah, I like that. I think I'm just out of practice. It's a skill.

[A]

And you've got a blobby thing, though, to begin with. I like to have the blobby mess on the page to mess it up and to give you some guidance, like, you know, you like the blobby drawings, don't you, Katie?

[B]

I was just thinking about that, like blobbing the shapes in and the colors and it stops your brain doing that thing where it thinks it knows what size stuff is.

[A]

And then you find your drawing off the edge of the paper because you got it wrong and it's much bigger than your brain thought. Yeah. I think a materials, really, you've got to get the ones that you're happy with. And because of Art Club, you've used so many amazing materials.

[C]

When you think of Art Club, I always draw quite big as well, don't I? My natural habitat now is a big sketchbook, I think.

[A]

And the biggest.

[C]

I hadn't noticed until I tried to shrink it.

[A]

And yeah, along with the biggest stick of charcoal.

[C]

That stick of charcoal at a heart club, wasn't that Lizzie?

[B]

It's like a can of coke made of charcoal.

[C]

I did not know this was in our house. I. Why? How Jerry has kept this from me for. He said he's had it ages, years. And he just brought. He just walked into the kitchen casually and put it on the table. I was like, what the heck? It was so good to draw with.

[A]

Jerry's had five years to blow your mind with a secret fat charcoal.

[B]

Afraid of eight was the time.

[C]

How big is it? How can we describe how big it is?

[B]

It's like if you think of a can of hairspray.

[C]

Yes. Size.

[B]

I thought, yeah, it is.

[A]

You should take that to the cafe one day with your A5 sketchbook.

[C]

Maybe I should just take a massive sketchbook in the cafe because I'm not frightened of people seeing me. So why am I do people taking a look at you?

[A]

Do they?

[C]

No. I've never noticed that people in a. Especially if it's in a city, people are too busy, aren't they? I've never had anybody.

[B]

That's something people say a lot to us inside, actually everywhere online. I feel like people are like, I'm so shy about drawing in public. People are gonna see me. I don't think I've ever. Maybe I'm a show off secretly because I don't really.

[C]

I don't really mind. There are times, I think, when I think I really want to get on with this and I could do without anybody speaking to me. But then I have my rude body language that defends me. You know, invisible body language where you just hunch your shoulders over and look really unfriendly.

[B]

They growl if they get near.

[C]

Yeah. I'll put my earphones in even if there's nothing playing because then people think you're in your own world and you're not going to answer anyway.

[A]

Yeah. If you've got a big set of proper headphones. Yeah. No one's.

[C]

Yeah, that's a really good idea.

[A]

It's better than making that high vis jacket that says go away. Because I was thinking about that.

[C]

I am an idiot. Do not talk to me. You regret talking to me.

[A]

You've got to put these sketches up now. Everyone's gonna watch it.

[C]

I will. I'm gonna. I'm gonna share them. They're really, really, really bad. And it might give people who are really rusty somehow, but it'll only give them hope if I get better. So I need to stick at it.

[B]

You need to finish this journey before you do it.

[C]

Or just admit I am no longer any good in a little sketchbook and start taking a massive one into a cafe.

[B]

This is maybe your massive sketchbook season.

[C]

I think it might be, yeah.

[B]

The trials of this.

[A]

Finding the right sketchbook is. Yeah, it's a real trial, isn't it? What do you need for that day also. What? What? Sketchbooks. When you go on holiday they weigh so much you can't squeeze three different types like the thin paper, the painting paper, the landscape format, the bigger vertical format and a mini sketchbook. You've already exceeded Ryanair's that baggage allowance by that time.

[B]

And even for a day out if they don't fit in your tote bag.

[A]

Yeah.

[C]

And because I love a massive sketchbook, it's not handy carrying that around with me everywhere, is it? Yeah.

[A]

You spend the whole day out thinking, I didn't use anything, I just used a tiny sketchbook with my Biro.

[C]

The really nice thing on what to see is people draw the most inconsequential things. I really love that. Just ordinary bits of the day like the family sitting around the table or watching TV or drawing what's on the telly. And some people, though, naughty people, try and pretend it's drawn from life. But you can tell, can't you? If something's drawn from a photo, it's too rendered and you can definitely tell. So when I'm sharing all my stories, I am a bit. A walk to see police. I am.

[A]

You're not going to make exhibitions of people, are you?

[C]

I am.

[A]

This was drawn from a photo.

[B]

Don't contest her, Tanya.

[A]

She will. They've got all the time in the world, haven't they? And it you can see. Yeah, it's too comfortable. You need to see that panic in a drawing where the weather's moving.

[C]

Panic in a drawing really does something, doesn't it? There's something about. Well, like at art club, when we set the timer, there's something about a bit of panic that stops. It like gets between you and your head. And I think sometimes escaping yourself in a drawing is really handy, isn't it? Anything that makes you feel a bit uncomfortable stops you overthinking. Like often when I go, do you know what I might have just thought why these drawings are no good? Because when I go drawing from life with my massive sketchbook, because it's big, I plan a few hours out and I'm so excited when I get there and I draw and draw and all the drawings are rubbish and then I give up and then they get good because I know I'm there for hours and I'm like, I can't go home yet. I'd planned the whole afternoon. All the drawings, rubbish. It's a write off. I'll just do any old rubbish now and then they get good. Where is it? In a cafe. I've only Got the length of my cup of tea. This might be it. I think this might be it.

[B]

Or you need to give up.

[C]

Exasperated I either have to give up before I get in there or sit there longer.

[A]

Building in faith. 20 minutes. You're not really going to get.

[C]

It's not long enough, is it?

[B]

To get in the zone, you need 36 minutes.

[C]

I think that's what. Exactly. Yeah. 36 minute into art club, we always go quiet, don't we? And we start concentrating.

[A]

Yeah, yeah, exactly. That's when the zone descends upon you both.

[B]

And don't put a timer on because if you're alerted at the 36 minute mode, that'll snap you out.

[C]

Oh, my goodness. Oh, it's so complicated.

[B]

This is making me want to draw more. So hopefully, if you're listening to this, you can join in with Walk to Sea.

[C]

Yeah. Be really nice to see all the winter skies, autumn skies, weather, walk to sea weather.

[A]

Yeah. If you've been looking for a reason to get to do some drawing, this is it. I. I really fancy doing some play drawing this autumn. What do you. We were talking about autumn, new starts, weren't we? And what you want to do with your work or with your creativity generally, it doesn't have to be work. I mean, if you've got enough time, if you've got enough of a gap between your work, what would you do that makes you feel revived and more creative?

[C]

It's always nice to do something that feels sneaky and nothing to do with your other creative work.

[B]

Isn't it naughty?

[C]

Yeah. Yeah. So PI is getting her folio together to apply to art school. And so I said, let's do some lino cut in one night. Let's do a bit of lino cutting when you get in from school. And usually I'm not mad about printmaking. I find the process so long and then if the results are rubbish, I feel really disappointed it took me that long. I'm quite an instant. I want an instant. What's the word? Gratification. Yeah. But, yeah, this time. This time I'm absolutely loving it. It's so nice. We sit at the kitchen table chatting while we're chiseling out the lino. It's been really nice.

[B]

It looks nice.

[A]

Yeah.

[B]

Peeking at it on stories.

[C]

Yeah.

[A]

I had a look. I thought, how have you got the patience?

[C]

I think it's because PI's just chatting with me and she's a teenager and she's been to some good parties with good gossip and that's been so exciting, hearing all the gossip and. Yeah.

[B]

Was it mono? Is it monoprint when you, like, splat the paint or the ink on the page, put the paper on top and then draw on the back of the paper.

[C]

Yeah, that's nice. Instant.

[B]

I used to love that, kind of. Because it's drawing, basically.

[C]

That reminds me of carbon paper. Carbon paper is so lovely, isn't it, for doing a drawing and having your carbon paper between your drawing and the next sheet of paper and whatever your drawing is, even if it looks bad on the top piece, the piece of carbon paper turns it into something really interesting, doesn't it?

[B]

Like little mottled texture.

[C]

Yes.

[B]

As well.

[A]

It. Wasn't that how Andy Warhol did his drawing?

[C]

Is that right?

[A]

Yeah, that's how you got that. Maybe someone's going to call and say, no, actually, it's not. It's a special fountain pen that went a bit scrunchie. Perhaps I've got this wrong, but someone said it was through carbon paper. Can you still get carbon paper?

[C]

Well, Greaves down the road in Barrack. Yes. And he sells one sheet at a time for something like 2P, because I've heard somebody come in and ask. And he went around the back and took out one sheet of carbon paper and sold it for a couple of.

[A]

P. That's where the bingo dabbers came from.

[C]

Yeah.

[A]

Really, Mr. Greaves is not benefiting from the trends that have been created through art club. With bingo D, Possibly. Now, carbon paper, if you want one, we'll make up a special Greaves barrack edition. You can sell it in packs.

[B]

That's reminded me of a quote I saw, and it's about, like, dilly dallying and enjoying yourself on purpose. And it was. I can't remember who said the quote or who it was about or anything useful, but there was a man needed an envelope and his wife was like, oh, you're really rich. Why don't you just buy, like, a big pack of envelopes online? And he was like, no, I want to go to the shop and buy one envelope, because I will tell a lady that her baby looks nice and I will stroke a dog and I will go into the shop. And I was like, that's the kind.

[C]

Of autumn feeling, the real vibes. Visitor stationers.

[B]

Buy one slice of carbon paper.

[A]

I've just moved into my studio in the barracks and it looks a bit techy. Like there's lots of computer screens and printers and ring lights. But I'm like, that is all going to be put aside next week and I'll get That big wadge of paper out and all the paints and all the colour. And I'm putting off starting the colour course because I can't work out how to begin. So I thought if I just play with colour and do the things that I like it will, I'm thinking it will magically become the colour course.

[B]

Can we come and see your studio please?

[C]

Yeah, we haven't had a visit yet. We're waiting for an invite.

[A]

Okay, well then you're invited. I'm going to go there this afternoon. I'll be there all this week and it's really nice because there's four other people in the studios with me. One is a filmmaker, Catherine. The woman on the other side is a foreign and kind of plants person, Jo who makes pigment from plants and is a general all round creative person. And then we've got someone who's a horticulturalist and a land art performance artist.

[B]

Wow.

[A]

It's a really interesting mix of people. So I can go and ask Catherine next door is this the best way to film the color course? And so all this interaction is happening. Jo came around and said can I ask you about paper? Why is this rag paper all kind of buckling up when I put lots of watercolor on it? All those things that just don't happen real life anymore. Having someone nearby to have a chat.

[B]

With about things that does not happen in my studio because I'm in a very corporate, businessy, officey place.

[C]

I heard you introduce yourself to the neighbor the other day. Oh yeah, in the corridor. How did they introduce?

[B]

I don't even know what I said. I think it was just. Yeah, they do environmental consultancy.

[C]

Yeah, they nearly cool.

[A]

Yeah, I just draw pictures live.

[C]

Yeah, that's what you did. You said something like that. Very, very short and sweet and then said nice to meet you, bye. And I thought that was very well done.

[B]

I don't want to be like oh God, neighbor. It's going to talk my ear off.

[A]

What are you doing for autumn Katie?

[B]

What's your so far? Lots of apples cuz it's been apple centric. We've had many, many, many apple crumbles and our freezer is full of chopped up apples and I just ordered an apple press so it's really exciting though.

[A]

I've been doing a bit of juicing as well but my poor little juicer, your Cameron asked if I could juice two trees worth of now the engine would burn out on that.

[B]

I was like Tanya's machine is a pre delicate instrument. Yeah, I got one of those wooden Barrels where you like, just chop the apples and then smoosh them in and then it goes through a net. And I've even ordered some vitamin C powder to stop it going brown. I've just done the classic thing of becoming obsessed with something.

[A]

Yeah.

[B]

But I feel like this is an investment in my future of having apples every year.

[A]

Are you gonna make cider? Can you have a good ship cider cloth at all?

[B]

Like cider?

[A]

You don't.

[B]

Tears of wee. Taste of what I might think we might taste like. Yeah.

[C]

I just sat down and nearly, talking of alcohol, took a swig of one of Tanya's bottles behind me.

[B]

Why are they in tiny bottles, Tanya?

[A]

Because Graham works at a whisky distillery called Ad Geffrin in Wooler and sometimes they get. They develop a new product. So he just brings back.

[C]

Are these little samples.

[A]

Yeah, the little samples. That is basically Bailey's, but it's the Ad Geffrin version.

[C]

It's in a teeny, teeny little bottle like that. You would get a tiny. Like a perfume bottle, I think. Doesn't it smell good?

[B]

Have a smell. I held it up to the microphone. Can you smell that?

[A]

The other day we had friends over and Graham had gone to bed and we were finishing off the Ad Geffrin whiskey. I said, I'll open this bottle because it sat here. It turned out the next morning that it was a special edition of whisky that had his special birth date number on it. And it was a higher volume of alcohol, which is why it tasted like Shivas Regal. It was beautiful. And we had laid waste to a third of this.

[C]

I am so glad that I just didn't take the top off that and squeak it, because Graham could have been.

[A]

Very cross all the things to pick. And he did agree that he shouldn't have left it out there, he should have hidden it away. If it was that, it's his fault.

[B]

See you next week.

[C]

Bye bye. Sa.