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.