The Finest Quality Handmade Artists’ Brushes
‘‘ 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 9 August 2015
The LEON HOLMES Set
Set contains 15 brushes (Long Handles unless stated): Series 2015, Chungking Short Flat, Sizes: 10, 8, 6, 4 Series 2085, Size: 4 Series 279, Masters Choice Long Flat, Sizes: 2, 4, 6, 8 Series 2045, Chungking Filbert, Sizes: 4, 6 Series 721, Sable & Ox Ear, (Short Handle), Size:1/4” Ivory Rigger, (Short Handle), Size: 2
£79 / $103
ROSEMARY & CO
Full Set
Available Online at
Request your FREE catalogue today!
www.leonholmesart.com.au
+44 1535 632666
www.rosemaryandco.com
Working SMARTER, not HARDER
{CONTENTS} 04
LETTER of the MONTH
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FRIENDS of the MONTH
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MASTER of the MONTH
Working harder can be an easy habit to slip into, though. Sometimes it is difficult to switch off at the end of the day, or take time out on the weekend to stop thinking about work. How about we use our time more wisely by taking breaks more often, being more proactive about our choices, then we can be in control. Let’s all try working smarter, not necessarily harder.
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BRUSH Reviews, TIPS & ADVICE
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GUEST of the MONTH
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PLEIN AIR & Finishing in the STUDIO
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ONES to WATCH on SOCIAL Media
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MASTER from the PAST
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SOCIAL MEDIA, whats the HYPE?
e all have a list as long as our arm to fulfil. We all have people we need to call back, emails that need answering, people to visit. It’s hard to manage your time.
It sounds fairly easy to do, but to implement? That’s a different story. I’ve got to go, I need to ring a friend about an email I didn’t reply to, and then go and see them because I didn’t have time to explain everything in the un-sent email over the phone. We all need to find time to re-charge. Have a good month!
Cover image courtesy of Svetlana Orinko. www.svetlanaorinko.co.nz Rosemary & Co Artists Brushes, PO BOX 372, Keighley, West Yorkshire, England, BD20 6WZ.
Symi Jackson, Sales & Marketing Director. symi@rosemaryandco.com
UK: 01535 632666 Int’l: +44 1535 632666
W: www.rosemaryandco.com E: enquiries@rosemaryandco.com
LETTER of the MONTH We LOVE to HEAR from YOU Dear Symi, I have often wondered whether there is a “universal brush size”. How are the numbers assigned and do manufacturers set their own sizes? It can be so confusing knowing what I have, compared to what I need. Love your brushes and I must commend you on your excellent service! Richard Stuart, Aberdeen, Scotland
For years, many of our customers have asked this question! Unfortunately, there is no universal brush size across different companies. This can make buying brushes extremely tricky if you can’t physically see them. With us being a mail order company, we have made sure all of our ranges have brush charts available through the website. We also offer a free mail order catalogue in which the brushes are photographed actual size. Drop us a line and we can send you one with pleasure!
Thank you for getting in touch Stuart, your £20 gift voucher is in the post. If you would like to be picked out of the hat for next months gift voucher, please send us your letters.
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{FRIENDS of the MONTH} We TALK to CALDER COLOURS
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he Calder Colours Artist Materials Factory is located in the heart of the national new forest, Leicestershire. They are dedicated to creating traditionally made colour in every shade imaginable for artists across the globe. They make everything from children’s ready-mix, through to acrylics and shellac drawing inks, right up to exclusive oils, pastels and honey watercolours. All of their materials are made in house, often by hand, using the traditional grinding method of a triple roll mill. Their forte is making bespoke products tailored to individual artists; this service elevates the
work of teaching professionals and has led to a number of well established brands and colours which are loved by many artists.
To find out more go to their website at: www.caldercoloursfactory.com Rosemary & Co
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{MASTER of the MONTH} INTERVIEW with SVETLANA ORINKO WHEN DID YOU FIRST START PAINTING? I was born and grew up in Ukraine and at the age of 7 I was placed in an institution for disabled children due to a misdiagnosis. To escape the harsh realities I found comfort in painting and drawing and after 5 years of living in an extremely sterile environment, one of the teachers noticed my abilities and encouraged my parents to enrol me in to Art School. WHAT DREW YOUR ATTENTION TO PAINT WATERCOLOUR? Watercolour was a compulsory medium in Art School, College and University. Teachers were saying: “If you can learn to paint in watercolour then you could handle any other medium”. 06
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WHAT DO YOU LOVE ABOUT WATERCOLOUR? I love the fact that if you know how you can make it paint for you. It’s transparent, glowing and a very seductive medium. WHAT PIECE OF ADVICE WOULD YOU GIVE SOMEONE STARTING WATERCOLOURS? Do not believe that watercolour is very unforgiving. I have found quite the opposite, especially if using non-staining pigments. Do not be afraid to use bold colour almost straight from the tube. Make it stronger and brighter than you think you need to, it will dry lighter. Wet your paper or the area you’re going to paint first, then add colour. Water will distribute pigment beautifully for you!
‘‘It’s a transparent, GLOWING and a very SEDUCTIVE medium.’’ WHAT CHALLENGES DO YOU THINK YOU FACE IN WATERCOLOUR OVER OTHER MEDIUM? The biggest frustration I get is that many people believe that watercolour is less permanent than oil. Also, I misbelieve that the artwork on paper is less valuable than on canvas. The only disadvantage for me personally is higher framing costs and the need to be viewed behind the glass. I do believe that every medium is truly beautiful if you can really master it. It will take a long time to get to know it. For over 30 years I painted exclusively in watercolours but I have decided to explore other mediums in recent times. WHAT IS YOUR FAVOURITE BRUSH AND WHY? It’s hard to choose a good brush over the internet, but I do have confidence when I am buying from Rosemary. The quality
is superb and great customer service. They even made a special brush for me. It was a squirrel flat that is 2 inches wide, for big washes. I use this brush to wet my paper and it does not disturb the layers of paint under. I have a few favourite brushes and would not be able to do a painting with only one. I start with a thirsty squirrel (series 41 size 1”). It holds a lot of water and less pigment which is perfect for underpainting and glazing at the end. Then I move to a Jean Haines Kolinsky Sable size 12. It holds less water and more pigment, has a superb point and is great for detail. I also take away colour as much as I put it on. Rosemary’s stubby flat series 502 size 4 is great for scrubbing colour out and softening the edges. Images courtesy of Svetlana Orinko. See more of Svetlana’s work at: www.svetlanaorinko.co.nz Rosemary & Co
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{The EGBERT brush} A TOOL USED by the OLD MASTERS By Lori Putnam
Putnam is an award-winning, professional artist working both in the studio and outdoors. Lori captures the character of a person, the uniqueness of a place, the colour of time, and the relationship of things.
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few years ago, I was encouraged by a great painter friend to try Rosemary’s Brushes. He said it would make a huge difference in my work. At that time, I was using bristle filberts almost exclusively for every brush stroke. What happens when you do that, is that every shape tends to look exactly the same. As I began trying different shapes and hairs, I noticed how much more intentional each brush stroke could look, even if it was placed with 08
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fearless bravura. The light went off in my head! I had basically been turning eggs with a pitch fork all those years. Why not use the right tool for the job? Of course, sometimes that means still using a bristle filbert, but only when it is appropriate. The more comfortable I became with the different brush shapes and the feel of the different hair types, the more fun I started having. Another thing happened. People began telling me that my work had really changed and for the better.
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ver time I have grown to love many different brushes from Rosemary, but the ivory egberts are my favourites, and are the ones I cannot do without. When I use them with thinned paints and hold the brush parallel to the painting surface, my hand mimics that of an orchestra conductor, making a variety of legato and staccato notes (--), a sort of Morse Code of calligraphic dots and dashes. It is very free and expressive in that way. I like to use the larger sizes particularly when laying in big washes underneath organic shapes like flowers, leaves, and grasses. Also with the thin paint, I can get a very controlled tree branch by pressing a little harder on the brush at first, twisting and turning, and lightening my
hand toward the end. With heavy-loaded thicker paint, and with the brush at about 45º from the painting, I can push in with the flatter side of the brush near the ferrule and pull and release as I move the brush upward, making broader shapes like large clumps of grasses and leaves. Egberts can also pull almost to a perfect point when I need to swiftly cut back in to a large mass with reverse shapes such as the negative spaces in between tree branches, palm trees, or fence lines. Try loading them and varying your touch from heavy to light and back again to carve out the heads and legs of people in a crowded street scene. Images courtesy of Lori Putnam. See more of Lori’s work at: www.loriputnam.com Rosemary & Co
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{GUEST of the MONTH} PAINTING SEASCAPES By Debra Joy Groesser
Debra Joy Groesser is an oil painter and workshop instructor based in Nebraska and is the President of American Impressionist Society.
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ne of the most challenging subjects to tackle “En Plein Air” is a seascape. The ocean is in constant motion. Wind is almost always a factor. Often fog will roll in and back out as you’re painting, sometimes completely obscuring your subject. Although I live in Nebraska, in the middle of the USA, which is nowhere near an ocean, it is one of my favourite subjects to paint. I was born on the southeast coast of England and also lived for a time in California and Maine as a child, so my love of the ocean has been a lifelong affair. 10
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I began painting seascapes on location about 10 years ago. I use a 10 x 12 inch Pochade box (holds panels up to 20 inches wide) with a sturdy, heavy tripod, which helps withstand the wind. When working in windy conditions, set the tripod legs as wide apart as possible, which adds to the stability. For additional weight and stability, I hang my backpack (full of my supplies) from my tripod with a bungee cord. Position your easel so the wind is hitting the side of it, rather than the front or back. This makes for less surface resistance and makes it less likely that your easel will blow over.
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ayer your clothing. Temperatures along the coast can vary greatly within a very short period of time. The wind coming off the ocean can be pretty cold even in summer depending where you are. A warm coat, hat and gloves are helpful. I have found the best way to start a seascape is to spend a lot of time (sometimes an hour or more) just studying the waves before ever putting the brush to the canvas. Waves only last a few seconds, so you must paint an “impression” of them rather than a “portrait”. I study the subtle shifts in colour from shore to horizon, the movement, the shadows, reflections, and then block them in very abstractly.
‘‘The ocean is in constant motion. Wind is almost always a factor.’’ Once the painting is blocked in, I continue to closely observe the scene, constantly comparing what I’m seeing to what I’ve painted and making adjustments as necessary. It is indeed a challenge, but well worth the effort and, besides, spending the day painting, breathing in fresh salty sea air, serenaded by the soothing sound of the waves is pure heaven.
Images courtesy of Debra Joy Groesser. See more of Debra’s work at: www.debrajoygroesser.com Rosemary & Co
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PLEIN AIR & FINISHING in the STUDIO By Dario Falzon
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hen working from life, I’m painting the effect of light on my subject. Light moves fast and I must be quick to capture it. Most times I get it in one sitting; occasionally I’ll have to finish back in the studio. How do I prepare for this? After setting up my easel I always take a photo of the subject. This is a record of the light effect and a handy reference for later. I recently painted an abandoned farmhouse. It was an overcast morning with steady light and I spent most of my time on the drawing, measuring angles and proportions. Once I was satisfied I could then start bringing the house to life. Shortly thereafter the sun came out and changed all the lighting conditions. Resigned to finishing in the studio I placed a few notes of general colour in the foreground and packed up. 12
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Once home I left the painting to sit for half a day. That way I could return to it later with fresh eyes. In the example of the farmhouse painting, I reworked the sky, realising I needed to lighten the value. From my memory of the morning, and based on what I saw when squinting down, I softened edges along the roofline. I finished the foliage on the left, using the photo reference. I tidied the hill side foreground, adding a subtle lead-in up to the house itself. Having the photo helped to jog my memory when it came to subtle details. Lucky for me, most of the information was already in the painting and I just needed to refine it. See more of Dario’s work at: www.dariofalzon.com
{ARTISTS around the WORLD} ONES to WATCH on SOCIAL MEDIA
TONY PRO
B
orn in California, Pro is a leading contemporary painter whose work is hung in museums and private collections all over the world. We wish Tony and his family all the best with their move to Texas. The Art of Tony Pro
MICHAEL GASKELL
M
ichael is based in Leicester, and reknowned for his photorealist style which has seen him short-listed for the prestigious BP Portrait Award five times, and runner up three times. His work is admired by many.
FOSTER GRISSIM
G
rissim is based in Nashville, Tennessee. His expressive style and bold brush marks led to his work standing out and being noticed by many of his peers and collectors alike. Grissim is certainly one to watch.
@mpgaskell
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{MASTER from the PAST} JOHN SINGER SARGENT By Chris Guest
Fig. 1
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ohn Singer Sargent (1856-1925) is widely recognised as the leading figurative painter of his generation. I have always loved Sargent’s work, as any figurative artist would. Though it wasn’t until this year when I went to the exhibition at the National Portrait Gallery in London that I saw his work in the flesh. Carolus-Duran Sargent’s Mentor (Fig. 1) was so eerily lifelike, yet once you got within a metre of the painting, you 14
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Fig. 2
could see how brushy Sargent was, which made it evident how much attention would’ve been paid to his shapes of colour and values, not to mention unbelievable edge work. The exhibition was about his friends and fellow artists he’d painted, which was nice to see, as he must have painted what he wanted to paint, not just paintings of rich Edwardian patrons for money. As I live in London I walk past his Tite Street studio in Chelsea from time to
time (Fig. 2 taken from my phone). I often take a minute to think of all the incredible masterpieces created in that building. I paint a picture in my mind of what this street looked like in 1880, and maybe Sargent walking these streets, going to buy some tobacco, or going for a pint in a local pub with Monet (maybe?). If you ever get the opportunity to see any of his art in the flesh, it should not be missed. Images courtesy of: www.npg.org.uk
SOCIAL MEDIA, what’s the HYPE? By Symi Jackson
If someone asked you, “Are you on social media?’’ what would you say? Do you even know what that phrase means? Now, I’m not proclaiming to be a social media boff, but I do know quite a lot about all of this. And, I know how important it is for us as a company and for our artists if they want to get their name out there, and keep it out there. I urge you to try and get your head around this phenomenon. Spend some time finding out what others are using to get the message out there. I know there’s so much “stuff’’ out there, and it’s difficult to know what you should be using. Times are a’changing as they say, and social media is definitely something that will be around for a while. Joining Facebook isn’t necessarily going to sell you a painting, posting an image on Instagram doesn’t guarantee you a commission, but what it will do is introduce new people to you; allow people to find out about your work and cause interest. I’m a firm believer there’s nothing better than face to face, but sometimes it just isn’t possible to be where your social media can take you. Please ask your friends and ask the youngsters in your family for some help. The world really is a small place when you’re online, and although that can be a scary concept, it’s also a plethora of endless opportunities waiting for you to snap up. Go for it. Rosemary & Co
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