15 October 2017

the colors of autumn

Our oak trees do not wear the glorious yellows, golds, oranges, reds, and purples of the maples and other trees back in Kansas. Those leaves that turn in the autumn simply turn brown; some oak trees around here are actually evergreen (who knew?) and stay a rich green year-round.

If I can't enjoy the colors of autumn outside, I can at least change my watercolor palettes to reflect the season --- Here are my cleaned-up and refilled palettes, full of earthy, granulating pigments. And, typical of me, I made changes after sketching these pages! The earth-red is Jane Blunder's favorite, Indian red: a gorgeous shade but very opaque. I wondered if Daniel Smith's Primatek "garnet genuine" might be a good granulating red while still being more transparent. It arrived yesterday, so I switched out the Indian reds for garnet.

Then, since burnt sienna and transparent red oxide are so close in color, I took the sienna out of my pocket palette and added a cobalt blue. I have been greatly influenced by Jane Blunder's blog and her amazing studies of pigments and what they will do.

Another change: Apple has finally updated their products to where I can no longer post photos to my blog using other devices. The problem is that Blogger refuses to upgrade their apps to the newer Apple systems. I can still post using my ancient iPad 3, but it's camera is not as good as that on my phone. So here I am, posting on my computer instead . . . and realizing how rusty my typing skills have become since relying on iPad, iPod, and iPhone!


  1. I started my first fall sketch yesterday. It was so humid that my paper was taking forever to dry. Needless to say, I didn't have time to finish it yet. I love sketching and painting with fall colors.

    1. I used to gather colorful leaves, acorns, and other bits while walking my Scottie, then sketch them when we got home.
      I may not have those leaf jewels here in the heart of Texas, but the wildflowers are spectacular! There's always something of beauty to capture . . .


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