Collection No. 5, Soul of the Ozarks Series

Collection No. 5 is the latest color collection from my Soul of the Ozarks series is similar to the previous one (Collection No. 4 has six colors and will be posted soon to Etsy, and Collection No. 3 is still on display and for sale at the Walton Arts Center in Fayetteville, AR).

Collection No. 5

At the time of this post, there are two of these left over at the Wild Ozark Etsy shop, and one that might be added back to the inventory if it isn’t claimed soon by the person who reserved it.

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Instead of nine fabulous shades, this one has four. Collection No. 5 has ‘Ancient White’, which is not included in the previous collection, although it is included in the Collection No. 3.

See this item at my Etsy shop.

Four colors are more than enough to make incredible art, though.  A smaller set is a more affordable entry point for artists new to the handmade watercolor experience, so I try to alternate between larger and smaller collections in my releases.

This Twisted Tree uses only a single color:

From Collection No. 5 and 4. The Whole Yellow Twisted Tree paint swatch in progress on my Paleo Go prototype.
The Whole Yellow Twisted Tree paint swatch in progress on my Paleo Go prototype.

“Whole Yellow” is included in Collection No. 4 and Collection No. 5 and I’ll have more of this color in future collections.

The Color Stories

Purple Heavies (textured)

All of the ‘purple’ colors I’m making are sourced from a single large rock that I found on our county road after the grader passed over it with his blades. It cracked open the rock to reveal an incredible purplish color. The paint is more of a brown, with some purplish undertones. The Purple Heavies sandstone paint has a bit of texture. These grits can be dusted off of the dried painting if you like. The color will remain behind.

Purple Heavies is a bit of a challenge because it does stain the paper and doesn’t re position well. But wow it is a rich pigment! If you put it down somewhere mistakenly, best find a way to incorporate.

Purple Heavies Gouache (lightly textured)

When I create a paint from a pigment-rich ochre, it leaves a lot of color on the plate once I’m finished scraping it off to put in pans. To avoid wasting the color I like to add some pure powdered limestone to the plate. It creates a lighter version of the same color, with more opacity and a different effect to the paint. It’s hard to achieve much shading but it’s great for things you don’t want to darken too much.

Whole Yellow Sandstone (textured)

This one also has texture. All of the ‘whole’ stone colors do. The yellow sandstone is an incredibly rich color that can achieve some depth of color if you layer the paint or apply with less water on the brush. The yellow sandstone yields a clean yellow color. It’s one of my favorites! Builds, lifts, and repositions nicely.

Ancient White

This is more than ‘antique’ white. It’s ancient because the color comes from limestone found in Felkins creek in Madison county, right near Wild Ozark. It’s likely the large chunk I found once was a part of our ancient sea corals.

Collection No. 4

One of the colors in this collection is taking longer to dry and solidify than I expected, so it’s not yet ready to ship. I do have it with me when I go to markets, though, and if I don’t get snowed in this weekend it’ll be with me at the Fayetteville (indoor) Farmer’s market.

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Collection No. 3 (nine colors)

This one is on display and for sale at the Walton Arts Center until Dec. 16. After that, if any are left, I’ll list it to Etsy.

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Madison’s Twisted Trees & Twisted Tree Swatches

When I make a new paint, I like to try it out on something in a monochrome painting. So I started making Twisted Tree Swatches. It was so much fun to create these twisted trees that I began a series. The first one is done, and I’m sure there will be many more to follow.

Why?

First, by doing a twisted tree with with each paint individually, it lets me easily compare it to others in how it moves on the paper. Does it build, or is the character mostly sheer? Can I lift it easily or does it stain the paper? What about thin lines? Can I move the paint and draw it out into very fine lines?

All of the paints have their own personalities. When I do a twisted tree I use the same sort of strokes, and some of them work well and some don’t so much.

Second, I like doing a painting that starts as a complete unknown. When I begin a Twisted Tree, I have no idea what it will look like. Once I get the basic structure of it down, then I begin to have a more clear image in my mind. It’s fun. They’re totally fantasy and some turn out to be very strange.

I like strange.

Twisted Tree Series

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Twisted Tree Swatches

Soul of the Ozarks Collection No. 4 (6 colors)

 

 

“Soul of the Ozarks” Collection No. 4 – Wild Ozark Paleo Paints

Collection No. 4 of the Soul of the Ozarks series of Wild Ozark Paleo Paints

Introducing the latest collection in my Soul of the Ozark series of handmade watercolors: Collection No. 4 …

The paint colors in my Soul of the Ozarks Collection No. 4

Whole Purple Sandstone (textured)

All of the ‘purple’ colors I’m making are sourced from a single large rock that I found on our county road after the grader passed over it with his blades. It cracked open the rock to reveal an incredible purplish color. Unfortunately, it doesn’t translate so directly to paint. The paint is more of a brown, with some purplish undertones. The whole purple sandstone paint has a bit of texture. These grits can be dusted off of the dried painting if you like. The color will remain behind.

Whole Purple Gouache (textured)

When I create a paint from a pigment-rich ochre, it leaves a lot of color on the plate once I’m finished scraping it off to put in pans. To avoid wasting the color I like to add some pure powdered limestone to the plate. It creates a lighter version of the same color, with more opacity and a different effect to the paint.

Whole Yellow Sandstone (textured)

This one also has texture. All of the ‘whole’ stone colors do. The yellow sandstone is an incredibly rich color that can achieve some depth of color if you layer the paint or apply with less water on the brush. The yellow sandstone yields a clean yellow color. It’s one of my favorites!

Whole Yellow Gouache (textured)

This paint is also made from the leftover color on my plate after making the Whole Yellow paint. It gives a very nice antique, not quite white but aged white with a hint of light yellow. You can use the gouaches to build layers to give a third dimension to your works.

Late Summer (smooth, sheer)

This is a light-fast plant pigment made from the red leaves in autumn of the black gum tree. It’s a tree native to the Ozarks and is one of the two sources of plant colors that I’ve found to be light fast. It doesn’t have texture to it and can be used to create a sheer yellow-tan. It does slightly darken with exposure to sunlight.

Allyssa Brown (very textured)

The rock that makes this paint isn’t very common here. Most of the sandstones have a lot of red to them, but this one has less than the others, although the paint still has some reddish-orange tones.

Where to Buy

I’ll have them with me this weekend at the Give Less, Give More show at the Johnson Mill hotel in Johnson, Arkansas (between Springdale and Fayetteville).

popup show on Nov. 30-Dec. 1 in Springdale, AR

After the show, I’ll list any sets I have left on Etsy. There’s only five sets in this batch. All of my batches tend to be small because the process is time consuming, but eventually I hope to make larger batches.

Cost: 6 colors, Gift packaged tin for $55

Stay Updated

Follow me on Instagram (@wildozark) or Facebook (@wildozark) watch my Etsy shop (etsy.com/shop/wildozark) to see the latest paints or paintings!

Red leaves of black gum (Nyssa sylvatica)

Deep red leaves of the black gum at the end of summer.

Black gum leaves begin turning deep red near the end of summer, sometimes long before any other leaves are starting to think of autumn.

This color is made from the late summer red leaves of black gum (also called black tupelo). It’s a tree native to the Ozarks and one of the few light-fast sources of plant pigments that I’ve found.

Red leaves of black gum, poured into pans and paint swatch painted.

Late Summer Shades

I can actually get three different shades of color from red black gum leaves, depending on when the leaves are gathered and/or how they are treated. The green lake pigment is a very nice shade of green, but it isn’t light fast.

From left to right: green lake pigment, water and ethanol extract, water only extract.
From left to right: green lake pigment, water and ethanol extract, water only extract.

The two brown shades are both light fast, based on my test strips that I hang outside in full sunlight. I leave them out for at least 4 weeks and they get full afternoon direct sunlight.

The green shade was made by precipitating pigments from the water and alcohol extract with alum and calcium carbonate. I love the color, but it doesn’t hold up to the light-fast test. So far it’s doing fine indoors, though.

The center shade was made using a water and alcohol extract, and the right shade was made using only water to extract the color from the leaves.

Red Leaves of Black Gum

The center shade will be included in my Soul of the Ozarks Collection No. 3, the next set of colors to be released which will include 9 colors from earth and plant pigments.

Wild Ozark Paleo Paints, Soul of the Ozarks Collection No. 3
Wild Ozark Paleo Paints, Soul of the Ozarks Collection No. 3

It’ll be to be released on November 23, 2018 at the Holiday Market to be held at the Walton-McBride Studio in Fayetteville, Arkansas. This set will be exclusive to that market until after Dec. 16 and after that I’ll list any sets left at my Etsy shop.

The hours and location for the Holiday Gift Market
Click the image to go to the website: https://communitycreativecenter.org/calling-all-artists-holiday-gift-market/

Making the Colors

gather the red leaves

Depending on when you gather the leaves, it may give you a slightly different shade of color.

Add to a pot of water

If you just use water, a lot of the red will remain in the leaves and not go into the water and will yield a color closer to the right hand image in the photo above.

 

I boiled the leaves gently. It may yield another shade to extract with alcohol and not boil it at all. I haven’t tried that yet, but it’s on my list of things to do.

The extract of red leaves of black gum trees.
The extract of red leaves of black gum trees.

Strain the water out. I use cheese cloth folded over several times.

I use cheesecloth to filter.
I use cheesecloth to filter.

Add solution of gum arabic. This makes a watery paint that will need to be panned several times as each layer dries. Store your paint in the refrigerator or it will mold and/or ferment. That, too, might yield a different color and is another experiment for the future. I’d leave the leaves in for that one.

What are Paleo Paints?

header for paleo paints blog post.

My husband once said my handmade paints reminded him of how the cave men made their paints for the cave drawings. And he was right! And so we called them Paleo Paints.

I make them by crushing rocks, clay, charred wood, and extract certain leaves to create pigments which are then added to a binder to make paint.

The type of binder used determines what kind of paint it is: gum Arabic for watercolors, linseed oil for oil paints, and egg yolks for tempera. Other binders can be used to serve the same purposes, but these are the three most people are familiar with.

I crush the rocks by hand with a mortar and pestle. But before that, I collect the rocks or herbs, or clay or char.

 

Some typical rocks that look like good pigment rocks. I'll pick out the one between the two larger ones.
Some typical rocks that look like good pigment rocks. I’ll pick out the one between the two larger ones.

When I see a rock that looks like it’ll make good pigment, sometimes I’ll crush a part of it on a larger rock out in the field to see what I might expect from it.

A tested rock. Excellent source of pigment for Paleo Paints!
A tested rock. Excellent source of pigment for Paleo Paints!

You’ll often find me with bulging pockets because I’ve seen something wonderful that needed to be made into paint and didn’t go out prepared to carry more than a handful home.

Crushed red sandstone that I'll use as a pigment for my Paleo Paints.
Crushed red sandstone that I’ll use as a pigment for my Paleo Paints.

The colors in my palettes are earthy, and rich with the essence of place. Each color carries with it a story that tells the origins of earth’s history for that particular spot where it lived.

Some of the colors from my first set of handmade watercolor paints.
Some of the colors from my first set of handmade watercolor paints.

By working with these materials to make paint, I feel a sense of collaboration and partnership – a harmony I have no other way to translate other than by making art.

I hope it brings the sacred tunes of ancient and ever-adapting life to your soul when you work with them, too.

Where to Find my Paleo Paints?

They’re at Etsy! Whenever they’re ready to ship, I list them on Etsy. Right now Collection No. 5 is listed. At the time of this post update, there are two sets left.

See this item at my Etsy shop.

I have 5 sets of Collection No. 3 that are reserved for an event from Nov. 23 – Dec. 16 (Walton Arts Center Holiday Market). Once that event is over, if there are any left, I’ll add them to the shop as well.

Collection No. 4 has one color that’s still not solidified enough to ship. Right now you can only pick it up in person on Saturdays when I’m at the Fayetteville Farmer’s Market (indoors at the Ozark Natural Foods). Check my schedule to see when and where I’ll be.

So far, I’ve sold most of the original paintings I’ve done using them, but I have a lot of derivative products like prints, stickers, note cards! Those are all at the Etsy shop, too. The shop is still under construction, but there are some stickers listed now.

Links

Here’s my Etsy link: www.etsy.com/shop/wildozark

Here’s where you can see the paintings I’ve done so far: www.paleopaints.com/paintings/

Follow me on Instagram to stay current with what I’m doing: www.instagram.com/wildozark

Plant Pigments – Experimenting and Searching for Green

Generally I don’t use the plant pigments because they’re fugitive, meaning they fade over time. Sometimes they completely disappear.

However, I’ve found two sources that actually intensify with exposure to light (full sunshine) and so I am experimenting with extracting the pigments from them.

The Sources of my Plant Pigments

Sassafras makes a nice yellow and orange, whereas Black Gum makes tan and green.

The differences in the colors produced from one plant are due to a few different things.

First, the time of year matters. If I gather leaves early in the season, sassafras gives me yellow. If I gather the autumn leaves, I get the orange. These two colors are sheer in nature but can become quite bright with UV exposure.

If I make lake pigments by adding an alum solution and following with calcium carbonate to flocculate and collect the precipitating pigment, I get yellow from the autumn leaves of sassafras and a very nice green from the black gum.

Maybe other shades will result from using other solutions in this lake process. I’m only beginning the experimentation. Then I’ll also test the finished paints from this way of getting the colors to make sure that they, also, are light fast and UV safe to use in a painting I don’t want to fade.

Many organic and even metallic inorganic will also oxidize and turn brown. This has been a big problem with any plant pigments I’ve used too, except the sassafras. I’m still testing the green from the black gum to see if it’ll turn brown.

How to Test the Color Stability

I test by leaving half of my test strip outside so that it gets full sunlight exposure and open air for 4 weeks. At the end of the 4 weeks I compare the other half of the strip that has remained inside in the dark to the one that hung outside.

A little bit of change is tolerable, but too much indicates that the painting won’t look the same after a decade or two. Watercolors are fragile colors to begin with and I always frame mine, and recommend buyers to frame theirs, under conservation glass to protect it from UV light, even indoors.

Precipitated Plant Pigments

Here’s what the filter cakes from my lake experiment looks like. I’ll write up a full post about what I did and how it looked throughout the process later.

Plant pigments obtained from precipitating with alum and calcium carbonate.
The yellow lump is from the autumn leaves of sassafras and the green one is from the autumn red leaves of black gum.

Where to find my Paints

I sell my collections at Etsy and through my online shop at Wild Ozark, the main website. Eventually I’ll have raw pigments to sell, too, for those who want to make their own paints of any sort from Wild Ozark colors!

The Great Crash of WildOzark.com

So, you should know that I know just enough to be dangerous with the tech stuff.

Somehow, I’ve crashed WildOzark.com. I’m working to bring it back up, but time is really short right now with War Eagle preparations and I may not have time to dedicate to get it back until after all the festivals are done. We have another one in November.

Just in case you’re wondering if it’ll ever be back online again, well… all I can say is I hope so!

This is a new website. There’s only this one post so far.

That’s all there will be for a while. Except for a few pages I really need to be posted soon, I won’t have time to work on it or add more until after festival season is done (mid-November).

PaleoPaints.com is the future of Wild Ozark, anyway, so I figured I’d just get started on a new website with the new focus. Whenever I can get the old site back up, I’ll let you know!