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
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Issue 5 March 2015
Classic Long Flat, Sizes: 3, 4, 5, 6 Classic Filbert, Size: 6 Master’s Choice Longer Filbert (Series 278), Sizes: 3, 4, 5 Ivory Long Flat, Size: 2
£110 $169
THE SET CONSISTS OF (ALL LONG HANDLES):
Full Set
The ANDREA J SMITH Starters Kit From ROSEMARY & CO
*There are multiple quantities within this set.
www.andreajsmith.com
+44 1535 600090
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SPRING in YOUR STEP! Spring is life, Spring is hope, so is love & happiness. Spring renews. Without spring, life is forlorn. Spring is nostalgia after bitter storm. Put spring in your heart! - Archie Greenidge The month of March was originally the first month of the year in the Roman calendar. We are already at least 9 weeks into 2015, and the resolutions have probably been forgotten. Perhaps it’s time to recap how determined we all were at the beginning of January to make time for ‘‘this’’ or catch up with ‘‘that’’, whatever those may be! A huge thank you to our Master of the Month, George Gallo for his time and expertise, to Michael Mentler for writing about our Master from the past, and to all of our other artists this month, without whom, this would not be half as much fun!
{CONTENTS} 04
LETTER of the MONTH
05
FRIENDS of the MONTH
06
MASTER of the MONTH
08
BRUSH Reviews, TIPS & ADVICE
10
GUEST of the MONTH
12
PAINTING in ACRYLIC
13
ONES to WATCH on SOCIAL Media
14
MASTER from the PAST
15
An ARTIST and a MOTHER
Oh, and by the way, March the 16th is ‘‘Everything you do is Right Day’’. Let’s try and make a month of it?! Enjoy this issue,
Front cover image courtesy of George Gallo. www.georgegallo.co.uk 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, I studied a graphic design illustration course for 3 years but always felt that creating animal based illustration and portraits using fine art materials was my strongest forte. I prefer to use acrylics but I have found that when try using acrylic paper it warps when I apply the paint would it be better to stay using the canvas boards? Do you do know if the paper needs to be stretched or do I just need to use a heavier gauge of paper like 300g watercolour paper? Also, when doing pet portraits is it advisable to leave them on a plain background or a more detailed background? Any advice would be greatly appreciated. Many thanks - Abegail Webster England, UK
Thank you for getting in touch Abegail, your ÂŁ20 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 RAYMAR ART
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e met the mother daughter duo, Catherine and Emily Dietrich of RayMar Art four years ago at a California art convention. They own a wonderful family business that produces professional panels and panel carriers, based in Arizona, USA. Catherine explained when her art instructor at the Scottsdale Artist’s School required her to make panels for her class she was shocked and asked ‘‘Why not just buy them?’’ Well, in 1998 professional panels didn’t exist. Artists made their own panels by cutting up canvas and boards and gluing them together. She had discovered a product missing in the art materials market and RayMar was formed to fill that need. Catherine told us “RayMar’s mission and passion are the same: to supply you, our artist customers, with museum quality panels, carriers to protect and transport your art and an annual contest to showcase your work. Providing panels has led to exciting long term relationships with our customers and allowed us to feel personally involved in their careers. We also feel it is our privilege to create supports for your masterpieces.”
Emily explained the detailed process of making their panels, “Cotton or Belgian linen is mounted to hardboard, Gatorfoam or aluminium substrates. Only the finest quality materials are used along with a specially formulated pH neutral adhesive to bind the canvas to the substrate. RayMar’s unique feature is our exclusive gray melamine applied to the back of the panel. This balances the panel to prevent unequal stress to resist warping. It also protects the back of the panel against deterioration from environmental conditions. She added, “Our attention to detail and made in America in-house process ensures every panel is of the same consistent high quality our customers expect from RayMar. We wish you happy painting!” Please visit their website at: www.raymarart.com Rosemary & Co
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{MASTER of the MONTH} INTERVIEW with GEORGE GALLO
‘‘If every painting is a self-portrait, then American Impressionist George Gallo exemplifies that premise. Both the man and his paintings are large, colourful, ebullient and full of expressive emotion.’’ - David A. Leffel To purchase George Gallo’s brush set just go online at: www.rosemaryandco.com Search for George Gallo. 06
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WHERE DO YOU MOST FIND PEACE WHEN YOU PAINT? It’s not a place, or a location. To me, it’s some form of appreciation of being in that moment. I think that the painting itself is a bi-product of just being out in the countryside and enjoying life. HOW DO YOU KNOW WHEN TO PACK IT IN FOR THE DAY? I love nature and being out doors. Plein Air painting is a true race against time, it forces you to stay in the moment, to think more clearly and more simplistically. Once you deal with the simple things the sun tells you when to call it a day! ONE BRUSH YOU COULDN’T BE WITHOUT? Rosemary’s Ivory Short flats! If you hold it dead on the canvas, you can get the sharpest edges. It’s a new find for me, and one I love.
‘‘Art is never finished, only abandoned.’’ - Da Vinci ‘‘I love Rosemary’s Ivory Synthetics, particularly the swords, daggers and riggers. The Short Flats are a new find for me and I just love them.’’ Images courtesy of George Gallo. See more of Gallo’s work at: www.georgegallo.co.uk Or follow George on Facebook: The Art of George Gallo
HOW DO YOU KNOW WHEN A PAINTINGS FINISHED? Da Vinci said, ‘‘Art is never finished, only abandoned’’. I’m never quite sure when my paintings are finished, but I guess when something goes off in your head that says ‘‘Stop, before you ruin it!’’, then you know. WHAT DO YOU FEEL WHEN YOU SEE A HUGE BLANK CANVAS? I like painting large paintings for lots of reasons. Firstly I think larger canvases, especially outdoors, force you to be less precious, because the physical act of covering the canvas is so demanding. If you’re painting rapidly because the sun is moving, you have to record and trust what you’re seeing. If you’re moving rapidly on a big canvas you get all kinds of energy and life that you couldn’t get otherwise. Rosemary & Co
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{The QUIRKY COMBER} For SPECIAL EFFECTS
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his is a quirky brush made in two styles. One is for just watercolour, and the other for all mediums. The jagged, irregular tips allow unique brush marks which easily replicate tufts of grass, animal fur, birds feathers, hair for portraiture etc. They are also perfect for stippling and creating shrubbery and foliage. Where many individual brush strokes are required to build a painting similar to Van Gogh’s Sunflowers, this is a brush you should reach for. Also ideal for pointillism.
‘‘ A jagged, irregular tip which makes wonderfully unique marks.’’ The ‘‘Comber’’ brush is available in Golden Synthetic; Series 2240 and 2250, typically for Watercolour, and 2230 is specifically for Oils and Acrylics. For those who love Kolinsky Sable, reach for Series 331, and is also available in the Eclipse range too. This brush is a welcome addition to anyone’s collection, on the shorter or long handle. 08
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{FLAT versus FILBERT} The BEST of BOTH WORLDS? By Rosemary Thompson
A
new addition to our Ivory range designed by David Shevlino from the USA.
In Shevlino’s current work, the canvas has increasingly become a place to experiment with different techniques of paint application. He is particularly interested in exploring the line between the traditional representation of the figure and the abstraction of it, and his paintings reflect his simultaneous use of both approaches. His paintings are characterized by broad brush strokes, a sensuous application of paint and an obvious feel for tonal harmonies.
At the same time, the artist demonstrates a firm sense of control, tightening up the composition through his deft modelling of the human form.
“ I wanted a brush that has the feel of a flat for laying in swathes of paint, but with slightly tapered fibres for getting a softer edge, the way you would with a filbert.” - David Shevlino
See this range at: www.rosemaryandco.com Search for Ivory Long Flat Curved Edge. Rosemary & Co
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{GUEST of the MONTH} Painting SNOW in OILS By Leo Mancini-Hresko
After graduating from the Florence Art Academy, Leo became an instructor and subsequently Director of the drawing program for sculptors. He uses traditional materials, his own hand-ground paints, canvases and oils.
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A wet brush looses its snap, and can ruin them if you use them to scrub on the canvas. After there’s paint on them it matters less.
The blanket of snow always looks beautiful with bright sunshine, but I’ll even paint in the snow at times. If its wet out, trying to keep your brushes dry is helpful.
Oils eventually freeze. Painting at low temperatures, your paints will start to stiffen up noticeably, flowing more like wet sand than butter. You’d think you could dip into your medium more often, but undiluted oil or more viscous mediums thicken up until they are nearly useless.
ou may have heard, the Boston area is getting much more snow than usual this year. People are glum - we’ve had a ton of snow and not a lot of blue skies. Getting out and painting keeps me looking forward to each storm.
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‘‘ The blanket of snow always looks beautiful with bright sunshine, but I’ll even paint in the snow at times.’’
T
he good news is, spirits do not freeze. To keep the paint mobile I remember reading that painters would mix a drop or two of kerosene (not a spirit that we would use these days) into each blob of paint on their palette before going out. I’ve tried it, but I find its easier to just keep a much more diluted medium in the winter (less than one part oil to spirit) and often, paint with mineral spirit or turpentine alone. At below freezing temps that will almost work like a medium normally does.
After figuring out a system that works, winter has become my favourite season to paint outdoors. Images courtesy of Leo Mancini-Hresko. See more of Leo’s work at: www.leomancinihresko.com Or follow him on Facebook: Leo Mancini-Hresko Rosemary & Co
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{Pushing PAINT in ACRYLICS} The QUICK drying MEDIUM By Angela Gaughan
s a professional artist for the last 30 years I have painted many subjects, including portraits, landscapes and wildlife.
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I only use artist quality paints and good quality brushes as you need to know they will do the job you require, sometimes it can take me weeks to complete a painting.
Recently I have found myself being more and more drawn to bringing the viewer in close, to show the beauty of nature and the wonderful wildlife within, whether it is the delicate petals of a flower, or the textures of a leopards fur.
I use soft brushes to do my washes, and filbert bristle brushes when I want to build up texture in thicker paint. I have been using Rosemary’s Brushes for a number of years now and can highly recommend them, the quality is superb.
I like working in acrylics as the quick drying time allows me to work in many thin layers.
See more of Angela’s work at: www.angelagaughan.co.uk
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{ARTISTS around the WORLD} ONES to WATCH on SOCIAL MEDIA
PAM HAWKES am is a proffesional artist based in the Midlands, UK and has lectured in fine art and life drawing at schools and universities across the region.
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Pam Hawkes Artist
JOEL GLUCK oel paints scenes from Jewish life in the past and present. He began drawing as a child, and went on to study with Ginsburg and McCormack.
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HOWARD LYON
H
oward Lyon was born in Arizona. His painting above won an Honorable Mention in the 2011 summer Oil Painters of America Online Showcase Competition.
@jewishartist
howardlyonart
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{MASTER from the PAST} JAMES ABBOTT McNEILL WHISTLER By Michael Mentler
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t a time when the preference for replicating nature in a faithful manner was in vogue and many new colours were being introduced to the artists’ palette, Whistler was pursuing different matters. His critics would point out that he was not a master draughtsman or colourist by the standards of his time, which brings up the question of why his works have endured while those of his peers have faded or disappeared. 14
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Whistler was one of the first to crash the significance of Oriental art and design and his works demonstrate the order and arrangement that set them apart from his contemporaries. His best works hinge on design rather than detail and value harmonies rather than local colour. In his youth, Whistler lived in Russia and was exposed to much Oriental art in the palaces and museums of Saint Petersburg. This had a great influence on his mature works, which not
only exhibit an Eastern sense of order, but also a different treatment of space than that brought forth in the latter part of the Renaissance, up until his time.
‘‘As far as painting is concerned there is only Degas and myself.’’ The only real fault with Whistler’s body of work is that there just simply isn’t enough of it. Images courtesy of: www.jamesabbottmcneill whistler.org
{An ARTIST and a MOTHER} Drawing INSPIRATION from FAMILY By Carol Arnold
Carol is a member of Richard Schmid and Nancy Guzik’s Putney Painters, located in Putney, Vermont. Congratulations to Carol on reaching the finals at The Portrait Society of America in May. See more of Carol’s work at: www.carolarnoldfineart.com
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s an artist, a wife and mother of four, life is busy. My painting time is limited so I want to make the most of every moment.
My children are my inspiration and often my models. We enjoy our time together and make each experience fun and memorable. I love to paint them in their every day situations. Before I can do that, I have to know why I love what I am about to paint. I don’t start until I have the answer. You can see the joy and excitement of sharing this experience in the painting. Find what inspires you and paint your own story. Rosemary & Co
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PUT a SPRING in YOUR STEP with some NEW ROSEMARY & CO Brushes ‘‘Daffodils’’ by Anna Mason. www.annamasonart.com
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