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:
“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.
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.
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.
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 and second ones are done, and I’m sure there will be many more to follow.
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
Twisted Tree Swatches
Soul of the Ozarks Collection No. 4 (6 colors) These are all for sale. Each card is roughly 4 x 6″. Listed at Etsy as I get time. If you don’t see it there, please contact me to inquire about availability.
Introducing the latest collection in my Soul of the Ozark series of handmade watercolors: Collection No. 4 … SOLD OUT.
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
Not available online. There’s one set left and I’ll have it with me at the markets on Saturday. It can’t be shipped because the ‘Late Summer’ color is soft-set and creeps out of the pan when left tilted (as it probably would be when tossed into a mail truck).
Cost: 6 colors, Gift packaged tin for $55 discounted to $35 SOLD OUT
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.
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.
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.
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.
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.
Strain the water out. I use cheese cloth folded over several times.
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.
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.
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.
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.
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.
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.
Paleo Paint Workshops
Do you prefer hands-on learning? I offer workshops to share the information I’ve learned so far. Most are single day workshops, but some of the more advanced ones will meet more than once because the process can’t be finished in one day.
I’ll also try to keep them stocked at Kingston Square Arts in Kingston, Arkansas. There’s a corner of the gallery back by the register that belongs to Wild Ozark. Lots of excellent pottery and art in there, so it’s worth a stop if you’re going through town on the way to your outings on the Buffalo!
Some of my originals are for sale. You can see all that I’ve finished so far at my Paleo Paints page: www.PaleoPaints.com.
If you see one you’re interested in, contact me to inquire.
Madison Woods is an author, artist, and Paleo Paint maker living with her husband in northwest Arkansas far off the beaten path. She uses Ozark pigments to create her paintings.
The Birds of Prey are generally not for sale at this time. I sold all of the kestrels before I realized I’d be working on a complete collection of them, but now I’d like to keep the entire collection intact until I’m finished with it. Eventually I’d like to have an exhibit with just the Ozark Birds of Prey… and to do that, I’ll need the paintings 🙂
Anything not a bird of prey is generally for sale. Contact me if you see something you want.
I have a lot of derivative products like prints, stickers, note cards! Those are all at the Etsy shop, KSA gallery, and farmers market too.
I live in northwest Arkansas with my husband on 160 acres far from paved highways. This gives me a front-seat ride with nature and is a huge influence on my life and work.
When I’m not painting or writing, I’m probably smashing rocks or out soaking up some nature and gathering photographs. I use the earth around me to create the paints for my works. My focus is on the Ozark pigments, but I will on some occasions use sources purchased, donated (people send me rocks!), or collected during travels. I love to capture the essence, the very soul of a place, with its earthy colors.
In direct contrast to that, my favorite subjects are creatures of the air. Raptors fascinate me because they’re gorgeous, yet deadly. I believe I like to paint them not only because they’re challenging, but also because they’re a dynamic opposite of the earth from which my paints are made.
When I choose a subject I look for flow of movement, intended movement, or an expression in the eyes that I want to capture.
Additionally, since most of the colors I use are created from wild-crafted rocks here in the Ozarks, I look for subjects with colors I can represent with the earthy colors in my palette.
I’m self-taught and only use the paints I make for paintings. I also use Prismacolor pencils for drawings.
010819- Interviewed by KUAF about the Ozark pigments and my art
011319- Juried into Artists of Northwest Arkansas Annual Member’s Show 2019 (Fox No. 1)
1-29-19- Works accepted to the Arkansas Committee of the National Museum of Women in the Arts’ 2019-2020 Artists Registry. They’ll be uploaded to the website (acnmwa.org) by February 4, 2019. (not sure which works yet, will update after Feb. 4.)
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.
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!
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!