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!

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!