One of the many perks of travel is experiencing differences in light and color as compared with home. Being in California last week was a welcome opportunity to soak up the warm tones that predominate in that part of the world — and from what folks have said about the cold and rain we left behind in Vermont, it seems like it was a good time to be out of town.
Stone Fruit ©2016 Elizabeth Fram The richness of color in these freshly picked apricots, cherries and peach from the Sonoma farmers’ market, puts subdued grocery store varieties to shame.
I always include my small travel box of watercolors in my art supply kit, and so was able to enjoy studying and mixing the relatively unfamiliar hues of the desert hills. Vermont’s rich blues and greens during June are markedly different from the drier landscape of Sonoma County, which leans toward ochers and golds punctuated with the deep and dusty greens of trees that thrive on limited water under the hot sun.
Overlook Trail ©2016 Elizabeth Fram
Sonoma Hill ©2016 Elizabeth Fram
We were on-the-go much of the time, so I squeezed in whatever moments I could to sketch. I find it’s easier to jot down a quick drawing on site and then return to it to add color later that evening or early the next morning. The hills surrounding the County are ubiquitous, so color reference is easily accessible, even after leaving the original drawing location.
Matanzas Creek Lavender © 2016 Elizabeth Fram
Now that I’m back home with a slightly expanded palette to work from, I’ve been spending some time fine-tuning my understanding of how to achieve the colors I saw. What I’m discovering is that by paring down to fewer colors, creating mixes from just a handful of basics, greater harmony results in the overall composition. This article by Dan Schultz discusses not just that fact, but also four other reasons why limiting your palette can be beneficial.
Sonoma color mixes; WN = Winsor Newton, DS = Daniel Smith
It’s surely humbling how much I have to learn. Somehow color theory seems a lot easier when working with thread, perhaps because if something isn’t quite right it can easily be undone. There’s no backing up with watercolor. But the challenge, as well as the look of layers of pigment on paper – blooms and all – is seductive and addicting, so I’ll be keeping my nose to the grindstone. I’m confident that the lessons learned will be translatable into my textile work as well.
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For one who is pooch-starved, our visit to Frog’s Leap Winery held a special treat. Abbie, the resident canine, (who brings new meaning to “it’s a dog’s life” in this uplifting video … if you’re a dog lover, don’t miss it!!), came in and flopped down to cool off by my feet long enough for me to squeeze in a quick doggie sketch. Life doesn’t get much better than sitting at a table with family, drinking a great glass of wine with pen & sketchbook in hand, and having a willing dog to draw!
Abbie, the Wirehaired Pointing Griffon ©2016 Elizabeth Fram