Skip to main content

Sage Green and the Autumnal Palette

    To the ancients, sage was connected with immortality, or at least longevity, and it was believed to increase mental capacity. The genus name is derived from the Latin word for salvation. The plant was at one time used to counteract snakebites. It was also sought after for drinking tea, even by the Chinese, who eagerly traded their own fine green tea for it at a ratio of 4 to 1.
  The oils in sage have been said to have antiseptic, astringent and irritant properties, and have been used to dry perspiration, treat sore throats and mouth sores, and even lower blood sugar in diabetes. 

So what do I like about it? The color, of course! Here’s the young sage in my herb garden back in June:



And here it is now, at the end of August:


   Now for a description of sage green from the classic color book: Bustonobys Color Manual: 
"Grayish green of a dull character, resembling the undried narrow, wrinkled leaves of the sage plant, used as a seasoning in cooking. Sage Green was recorded as a color name as early as 1596. In the reign of King Henry VIII,when the enjoyment of food was a high art, it was customary to have kitchen gardens growing sage and other plants, used as subtle seasonings for foods. This practice is still followed today in some rural localities. "

16 parts Zinc White
8 parts Yellow Ochre
1 part Ultramarine Blue

       According to the above color mixing recipe, sage green is mostly white with a scoop of yellow ochre and a pinch of blue. And that, my friend, is a far cry from bright spring green. It is a muted down grayed green, the quintessential green of autumn. We are now on the cusp of autumn, delightfully heading toward its grayed down palette of sage greens, russet reds, mustard yellows and warm browns.



      Here’s something to keep in mind when arranging your palette for autumn. This ain’t no straight out of the tube green paint. No no no! Mute it down. Tone it down. Think autumnal. Start with zinc white, then a bit of yellow ochre, then a touch of blue. Or add the complementary color, but that’s another blog topic. 

If its wearable art you want, here’s a couple choices literally pulled from the sage green palette:



For more choices, Go to my Etsy store here

So here’s to autumn and sage green, longevity and health! 


Comments

Popular posts from this blog

Where it All Started

    I have always believed that people love to see behind the scenes in the artist studio. It’s like looking behind the curtain and seeing what goes on backstage, to see how the art is crafted, what tools and materials are used, and how the artist thinks.        To this end, I am thrilled to unveil a new video that tells my story of the origins of Parts of Art.  A big shout out to the producer and videographer   @Moguefilms .                                           Here are some of the pieces seen on the video.                                              Want to see more?                                           visit my shop here    

Just add paint!

      It’s just that simple when painting with watercolor.  This is how I start my day in the studio. Open to a new page, fill a brush with sparkling clean water, and fill the page or pages. Then, add watercolor paint and let it do its thing.              The daily studio routine is this:  clock in at 9 and paint that page in my journal.       I realize that the painting on this page could become a beautiful fabric design, a batiked collage, or an amazing painted wall hanging. But my POINT is that I start my studio day with water on a page and go from there.           As far as the illustrated journal, yes it’s true. Any thing done on these hallowed pages could become some great masterpiece someday. But that’s clearly not the intent. The journal is the place to play, to experiment, to express,  to answer the question “what if ?” It’s about the inspiring and refreshing place my mind enters once that water on the page turns to color. It’s where it starts.  Does it matter

The Making of a Show piece

     Earlier this month I made the decision to compete. The competition is for a monetary prize that will be awarded in an upcoming show. This is an art show in which I have participated for the last three years, and, for me, the awards are fairly substantial. I am not usually one to go after awards, but I figure I’m going there anyway, so I might as well compete.      The other motivator for me is that I need a new jury image or two. Somewhere along the line I learned that jury images need to show a constistency; the pieces need to look like they are all from the same DNA, so to speak. I have had a concern that my jury images are too dissimilar, and someday I need to make them more cohesive.         So someday arrived this week. I had three days off work, so I scheduled studio time to design and build a show piece that 1) could possibly win a prize, and 2) be photographed for a jury image for next year’s shows.         I thought I would show you some photos of the w