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‘‘ It’s not just a brush, it’s an experience. A ritual. It’s life changing and it’s your life.’’
OUR monthly NEWSLETTER filled with INTERVIEWS & TIPS for your ENJOYMENT
www.rosemaryandco.com
Issue 2 December 2014
Introducing the new Jeremy Lipking Collection from Rosemary & Co Set includes: Classic Long Flat, Size: 12 Masters Choice - Series 279, Sizes: 1 - 10 Pure Kolinksy Sable - Series 441, Size: 2
+44 1535 600090 Visit us at: www.rosemaryandco.com
The BEST month of the YEAR is finally HERE!
D
ecember is my favourite month for so many reasons; the wonderful festivities that Christmas and New Year bring to us with our family and friends, and of course... my birthday. I’ll be turning 24 this year, almost an adult I guess. The amount of you who contacted me after our last issue is truly overwhelming. I’m so pleased you enjoyed flicking through the pages. This month I hope to provide you with more inspiration. Please enjoy taking some time out to relax and read, perhaps sat in front of the fire with a warm cup of hot choc? On behalf of Rosemary and her team, I would like to wish you all a joyful and safe Christmas wherever it may take you. Oh, and don’t forget we close on the 23rd of December and re-open on the 2nd of January! Happy holidays! PS... Don’t forget we offer free gift wrap!
{CONTENTS} 04
LETTER of the MONTH
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FRIENDS of the MONTH
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GUEST of the MONTH
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WHAT to READ this MONTH
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ONES to WATCH on SOCIAL Media
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MASTER of the MONTH
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You ASKED we ANSWERED
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MASTER from the PAST
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To FRAME or NOT to FRAME
Front cover image courtesy of Kathy Anderson www.kathyandersonstudio.com Rosemary & Co Artists Brushes, PO BOX 372, Keighley, West Yorkshire, England, BD20 6WZ.
Symi Jackson, Sales & Marketing Director symi@rosemaryandco.com
UK: 01535 600090 Int’l: +44 1535 600090
W: www.rosemaryandco.com E: enquiries@rosemaryandco.com
LETTER of the MONTH We LOVE to HEAR from YOU Dear Rosemary & Co, Thank you so much for your generous sponsorship of PAAC’s 18th Annual National Juried Exhibition with your donation of a set of your wonderful Rosemary brushes. This was given as part of an Honorable Mention award. Although I asked that as show chair that I not be considered for any awards, our judge, Karen Vance, awarded my painting, “Magic Hour,” this award. I was thrilled as your brushes are now the only ones I use! You can view my painting, along with our entire exhibition on the PAAC website at http://pleinairartistscolorado.com/shows /2014_PAACShowCatalog.htm We sincerely appreciate your continued support of Plein Air Artists Colorado...thank you again! Warmest wishes, - Debra Joy Groesser, 2014 Show Chair, Colorado, United States
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{FRIENDS of the MONTH} We TALK to ZEST-IT
J
acqui and her team at Zest-It are dedicated to artists painting in Oils.
As a company they stand for an ‘‘environmentally friendly, nonflammable, pleasant to use, biodegradable alternative to ‘turps’ and white spirit, made using the zest of citrus fruit for cleaning brushes and thinning paint, a much safer solvent for studio use.’’ We have stocked their products for quite some time now and love supporting a small family business like ourselves. All of their products are made in-house and their products are endorsed and loved by many of the UK’s best Oil artists.
However because Zest-It contains citrus oils, it helps maintain the integrity of your brush hair or bristle giving them a much longer life. ZEST-IT CLEAR PAINTING MEDIUM The Clear Painting Medium, (which is Zest-it and Linseed Stand Oil mixed) is ready for use. It enhances the flow and reduces the consistency of oil paint, it can also make the painting dry quicker. Very useful for blending and glazing without added varnish. To view our full range of Zest-It products go to our website www.rosemaryandco.com and search Zest-It.
WHY USE ZEST-IT? Zest-It isn’t irritating to the eyes or skin in normal use, although splashes may irritate, just like soap if you get it in your eyes. Zest-It as a brush cleaner is kind to your brushes. ‘Turps’ and white spirit are known to ‘leech out’ the natural oils from synthetic and natural brushes, causing them to go brittle and dry over time. Rosemary & Co
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{GUEST of the MONTH} In PRAISE of the STRAIGHT edge By LYNDA APPLEBY
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traight edge brushes were traditionally used by the sign writer and calligrapher. Now however, for the painter to leave this valuable tool out of his equipment is a great mistake. Every painting is a mixture of the defined or the undefined, or as I tend to refer to them ‘mush’ and ‘anchor’. The straight edged brush is the perfect tool for painting in the anchors with freshness and simplicity, yet with accuracy.
Fig. 1
Fig. 1. Using a ¾ inch you can create the effect of light on water effectively by simply allowing the tip of the brush to make its mark, almost like block printing. Fig. 2, 3 & 4. Apply this over a wet in wet sky [mush] as a horizon and reflection [anchor] and you have the basic structure of your painting. Fig. 5. The straight edge comes in to its own when painting repetitive shapes. Take a look at the radiator of this old tractor. Each of the half tone areas is painted with one stroke of ¼ inch one stroke brush and the dark shading on two sides of each aperture is a mark made by a ¼ inch bright. The detail is precise but not overdrawn. 06
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Fig. 2
Fig. 3
Fig. 4
Fig. 5
Fig. 6
Fig. 7
Fig. 8
Fig. 9 Images courtesy of Lynda Appleby
‘‘Controlling the weight of the line is difficult with a pointed brush...’’ Fig. 6. As far as painting trees is concerned the straight edge has enormous versatility. By using wet in wet method with the bright there is a bit more colour differentiation than with the a round brush and then the marks on the bits of dry paper show the linking branches freshly and without labour. Fig. 7. The silver birch is defined by the half tone background with the detail at the base of the tree provided by a ½ inch one stoke on its side being dragged downwards. When using acrylics straight lines are always something of a challenge because controlling the weight of the line is difficult with a pointed brush however steady you are of hand! In buildings this can mean
that they may look either overworked or ragged. Straight edge brushes solve the problem. Look at the posts on the little Outback house (Fig. 8) by ‘printing’ them by vertical marks one after the other the posts look straight and tonally correct. Also in acrylics angular marks superimposed over one another give a lovely loose structure to vegetation (Fig. 9) especially with subtle variation of tone a colour. So, whether my painting is wet in wet or wet on dry, of natural or man-made structures, or of landscape or close up detail for me the straight edge brush is a resource I cannot be without. www.lyndaappleby.co.uk Rosemary & Co
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Which stocking would you like on your
* Brushes not shown actual size
*Order online now in time for Christmas or telephone us on: +44 1535 600090
fireplace this Christmas?
{New Books} WHAT to READ this MONTH GEORGE GALLO & CINDY SALASKI Impressionist Painting for the Landscape
G
eorge Gallo is a screenwriter, film director, producer, painter and musician. His new book, ‘‘Impressionist Painting for the Landscape’’ is set to be a must-have for 2015. Available from December 31st 2014 through Amazon.
www.georgegallo.co.uk
Gallo is also a noted Hollywood director and screenwriter having worked on films such as Midnight Run, Bad Boys, and Middle Men. He also wrote and directed, Local Color, a semi-autobiographical film based on the painting experiences of his youth.
ANNA MASON The Modern Flower Painter
nna's exceptional floral artwork has won awards from the Royal Horticultural Society, International Artist magazine has seen her elected to the prestigious Society of Botanical Artists. Anna shares her innovative watercolour technique so that you can paint flowers in her clean, crisp style.
www.annamasonart.com
A
The book covers painting modern botanical-style portraits of flowers, and tips on gathering your reference to Anna's six stage watercolour process. This will inspire and challenge the experienced watercolour artist, while drawing in and reassuring the complete beginner.
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{Upcoming} ONES to WATCH on SOCIAL MEDIA
DORIAN VALLEJO
D
orian’s love of traditional media and people, drew him to classical portraiture and to focus on personal work where he had the freedom to explore his other artist interests. Dorian Vallejo
BILLY the ARTIST
B
illy creates wonderful pieces of art themed around motorsport. He has a growing fan base and released videos on youtube of his work in progress.
MATT ODDBOY
U
k based artist and tattooist is certainly one to look out for on instagram. Matt often uploads photos of his work in progress too which is always great to see.
@Billyartist
oddboytattoo
KEEP in TOUCH by FOLLOWING us ON... FACEBOOK: Rosemary & Co Artists Brushes
TWITTER: Rosemary&Co @rosemaryandco
INSTAGRAM: Rosemary Brushes
LINKEDIN: Rosemary & Co Artist Brushes
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{MASTER of the MONTH} INTERVIEW With KATHY ANDERSON
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Image courtesy of Kathy Anderson
WHAT ARE YOUR THREE FAVOURITE COLOURS? YELLOW - for me a symbol of the sun making everything glow and grow. GREEN - the infinite varieties, the cool greens and warm ones - the epitome of nature. RED - from flaming poppies to deep earth tones, red tones are the center of everything.
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HOW LONG HAS ART BEEN PART OF YOUR LIFE? It’s hard to remember a “start”. I’ve gone through so many stages - all the while keeping my easel painting going until I could finally devote all my time to it!
WHO DO YOU ADMIRE IN THE ART WORLD? My mentors and dear friends Richard Schmid and Nancy Guzik are the biggest influence in my path through the joyous life of art and painting!
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WHAT ARE YOUR GO-TO BRUSHES? For now (as I am constantly rotating “favorite” Rosemary brushes) series 275, the angular brushes ¼ “and 3/8’’. They are firm enough to hold lots of paint, and keep a really sharp edge. 12
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WHAT ‘‘MUST HAVE’’ BOOK DO YOU RECOMMEND ? Definitely Richard Schmid’s Alla Prima the one book I take everywhere with me! Any questions I have can be answered in this book.
ADVICE TO BOTH BEGINNERS AND PROFESSIONALS? It starts with a passion and strong desire to learn. The most successful artists seem to know on an inner level what they are drawn to, and want to paint. Technically, there is nothing more important than learning to draw. Study with someone whose work you love, study the masters, go to museums, galleries, and practice, practice, practice! Kathy lives in Connecticut, USA www.kathyandersonstudio.com
{You ASKED, we ANSWERED} GOT a QUESTION? GET in TOUCH WHEN WILL YOU BE OPEN OVER THE CHRISTMAS HOLIDAYS? We close the workshop on Monday the 22nd December and re-open on the 2nd of January. Please go online to see our shipping dates over the Christmas period. WHAT ARE YOUR SHIPPING COSTS AND TIMES? UK customers - We aim for next day delivery if ordered before 4pm. Orders under £30 have £1 P&P and free above. USA customers - USPS is 7-10 days and costs $11.15 or DHL is 3-5 days for $16.75 (but can vary slightly with the exchange rate). European Countries: £4/€5 (including VAT) for International Signed For Royal Mail which can take up to 10 days. Australia and the rest of the world e.g. Africa, South America, Asia: £11 International Signed For Royal Mail or DHL from £14.24-16.75 (depending on location). HOW WILL MY BRUSHES BE PACKED? We use padded envelopes with cardboard inserts, thus preventing damage. Most letter boxes accommodate the packages. Tell us if you anticipate being out to leave with a neighbour or via the back gate. I’M OVERSEAS, CAN I ORDER FROM YOU AND HOW? Yes, we send packets every day all over the world! The ‘‘easiest’’ way is to visit our website and use our secure shopping cart. Alternatively, you can send a letter through the post or email us with your requirements. If you prefer to talk over the phone, just drop us an email and we will call you at a time convenient to yourself. Rosemary & Co
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{MASTER from the PAST} Joaquin SOROLLA y Bastida By SYMI JACKSON
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orolla, born 1863 in Valencia, Spain and orphaned only two years later, is one of the most prolific landscape and portrait painters of all time. The basis of Sorolla’s masterful technique came from his drawing skills learnt in his childhood by tirelessly copying books. He was winning major prizes at the age of 15 for his paintings and by the turn of the Century he went on to be one of, what many consider, the western worlds greatest artists. His approach to both drawing and painting was speed. He once said, ‘‘I could not paint at all if I had to paint slowly. Every effect is so transient, it must be rapidly painted.” Sorolla would produce hundreds of paintings each year. In 1909 the Hispanic Society of America hosted a show of his work whereby 356 paintings were hung and 195 of them were sold. It saw an astonishing 160,000 visitors in the first month. 14
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Images courtesy of the-athenaeum.org
Renowned for his expressive brush marks he was able to create a thick and textural richness to his paintings which compels and draws us in. He had such a unique way of controlling light which was shown through his beautiful colour choices both for his indoor and outdoor palette. One can only presume Sorolla would have used European bristle, which though his brush choice cannot be certain, I would support a friend of mine Tom on his assertion, after much research, due to his thick strokes which could be controlled, and pushed around more easily with the use of a filbert. Sorolla’s legacy has continued to live on through his collection known as the Museo Sorolla, the artists former house in Madrid. I would love to visit there someday. To learn more about Sorolla visit Thomas Kitts blog at: www.thomaskitts.com
To FRAME or NOT to FRAME I’ve always viewed a completed painting, framed and all, as a complete “art object.” I never feel a work is truly finished and/or ready to be viewed until the right frame has been added. There are always exceptions to these perspectives. Especially with “contemporary” works which look fantastic un-framed. I suppose it does depend on the desired effect one is aiming for and as with most aspects of the art world, there is a considerable portion of personal preference at play. When it comes to representational painting, I certainly feel the frame plays a pivotal role. One can always harken back to the very beginning of why frames came into existence and what that role was. Frames were meant to protect the painting. As art progressed and many brilliant craftsman came to light, the frames they were building which were hand carved and gilded became immensely beautiful. From a practical function the frame has developed into an aspect of the final painting that is often times as important as any other aspect of the work. For me, framing a piece is the icing on the cake. It only enhances the work and will continue to do so for its unknown and generally very long future. - Derek Harrison www.derekharrisonart.com
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