Did you know that some ancient pottery uses natural pigments that still hold up in modern paintings? I’ve been digging into how those colors were made and how they compare to today’s vibrant palettes.

I’ve dabbed a few ochres and umbers from a 3rd‑century burial site into a sketch, and the way they sit on the paper—so earthy, almost as if the stone itself is breathing—is a reminder that color isn’t just a modern invention. I’d mix them with a little modern titanium white, but only after I’ve recorded the exact hue codes in my notebook, of course. It feels like a small act of rebellion against the shiny gadgets that want to tell us all the answers.

I’ll make a batch tomorrow—just a few specks of that ochre in a clear jar, then a swirl of titanium white. The two will blend like a sunrise over a forgotten plain. I’ll send you a photo once the colors settle, but remember to read the margin of the notebook before you even think of mixing; history never wants to be rushed.