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 6 May 2015
The RICHARD SCHMID Set
SET CONTAINS (ALL LONG HANDLES UNLESS STATED OTHERWISE): Series 99. Pointed Pure Sable, Sizes: 0, 1, 3 (Standard Handle) Series 77. Pure Sable Brights, Sizes: 6, 10, 14, 16 Series 279. Masters Choice Long Flats, Size: 8 Series 278. Masters Choice Long Filberts, Sizes: 2, 4, 6, 8, 10 Series 91. Pure Sable Filbert, Size: 6 Classic Short Flat, Size: 12 Series 274. Masters Choice Brights, Sizes: 4, 6
ÂŁ183 / $227
ROSEMARY & CO
Full Set
Available Online at
www.richardschmid.com +44 1535 632666
www.rosemaryandco.com
WE’RE full SWING into SPRING! Firstly, you may have noticed we didn’t run an April newsletter. This was due to the move of the workshop and several overseas exhibitions. My apologies for that, but I am sure you understand the hours and hours spent on such events.The past month or so has been filled with adventures moving to a magnificent new workshop…and a gruelling four hundred and fifty boxes later. We are finally somewhat settled now, and enjoying the sunshine and idyllic countryside in Yorkshire. I drive past spring lambs every morning on the way to work and remember how lucky we are to work in this beautiful place we call Yorkshire. Thank you to all those who came on board this month. It’s a pleasure to have Christiane as our Master of the month, and her grandaughter Polly Hobbs, a professional artist in her own right, writing the Master from the Past for us. Enjoy the daffodils and the nature waking up. Go out and paint! Whether that be in your back garden or further!
{CONTENTS} 04
LETTER of the MONTH
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FRIENDS of the MONTH
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MASTER of the MONTH
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BRUSH Reviews, TIPS & ADVICE
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GUEST of the MONTH
12
TRAVELLING Light for PLEIN AIR
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ONES to WATCH on SOCIAL Media
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MASTER from the PAST
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STUDYING at an ATELIER
Cover image courtesy of Christiane Kubrick. www.christianekubrick.com 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 Rosemary & Co, I love getting the newsletter! I have an idea for you perhaps… I have a beautiful large pottery piece filled with my new Rosemary Brushes - the used ones are at my workstation. These new brushes are for me, however, they also have another purpose. I give your brushes as presents to artists I meet - I gave one to Max Ginsburg this summer. They are presents to reasonably successful painters, as well as, new artists who want, and can’t afford good brushes. Some people have a gift collection of pens and small leather goods, I have brushes, and they find their way from art instructors, to professional artists, to people who are just delighted with a brush as a present! I think the world of you! Love, Kathleen Ericson Michigan, USA Thank you for getting in touch Kathleen, 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 NITRAM CHARCOAL
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fter Rosemary met Jerzy Niedojadlo in Frankfurt, Germany at the beginning of this year, we knew that Nitram Fine Art Charcoal would fit perfectly as our friends of the month. After enrolling in the Academy of Art in Toronto, Canada, Jerzy progressed through various Bargue studies and was eventually faced with his first charcoal cast drawing. At this point he asked his instructor which charcoal would be the best? He responded “Nitram was the best that there was”. So, Jerzy went to the local art store – but no Nitram was to be found. He searched online – again no Nitram. It would appear that the best charcoal was virtually unavailable. Even worse, that it was no longer even being produced! Jerzy then decided to go directly to the source and wrote to Mr. Nitram himself.
Initially he received no response, but played the part of the proverbial squeaky wheel and persisted. Several emails later he finally received a response. This was the start of what would become a lengthy and increasingly friendly correspondence between himself and Daniel (Mr. Nitram). As it turned out, Daniel simply decided to pursue other interests and was no longer interested in continuing the Nitram business. It was to be the end of the line for this excellent product and he was very sad to hear of it. It was at this point that Jerzy’s entrepreneurial spirit kicked in and he decided that he would be interested in taking on the business and preserving the tradition of Nitram Fine Art Charcoal for himself and other artists. Eventually, Jerzy went to France and purchased the process, the equipment and the trademark. Since then, Jerzy has spent long periods of time with Daniel and has been producing Nitram charcoal the way it has always been made. And the rest, as they say, is history. Or at least history in the making… You can visit Nitram’s website at: www.nitramcharcoal.com Rosemary & Co
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{MASTER of the MONTH} INTERVIEW CHRISTIANE KUBRICK Christiane Kubrick was born in Germany in 1932, into a theatrical family. She initially trained as a dancer and actress, but always had ambitions to be a painter.
H
er career in performing led her to be cast in the film “Paths of Glory” where she met her future husband, Stanley Kubrick. Before moving to England in the late sixties, the Kubrick family spent time in America, and Christiane embarked on her new career as a painter, studying art in California and New York. International success followed with exhibitions in New York, Rome and London, and later in her career, when Christiane and her family finally settled in Hertfordshire, the joy of bringing art to people was opened up to her when she exhibited at “Art in Action” at Waterperry, Oxfordshire. It was here that Christiane met Rosemary, many years ago. 06
Rosemary & Co
T
he spirit of artists working and demonstrating their techniques, and interacting with people and sharing their art without barriers appealed to Christiane and she was soon taking part in “Open Studios” where visitors were able to see her at work in her own environment. A natural progression from “Open Studios” was for Christiane to utilise the beautiful grounds of the Childwickbury estate, where she moved to with Stanley in 1978, creating her own arts fair. In the summer of 2003 the first “Childwickbury Arts Fair” was held, and was an instant success. The fair has grown steadily over the years, and represents everything that is important to Christiane about art, music and the act of involving people in the creative process. The success of the summer event has led to the Childwickbury Christmas market. Christiane’s ‘‘go to’’ brushes are: Anything made by Rosemary with long handles! Particularly the Golden Synthetic range & the Red Sable as a special brush. Please visit Christiane’s website at: www.christianekubrick.com Rosemary & Co
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{LOOKING to BRANCH out?} The ROTARY Tree BRUSH
This is a brush with unique properties which can be used as a tool for painting winter and summer trees.
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he concept is that the bristles are equal length and constructed into a circular form, so that the paint pigment can be used as a drybrush technique, or used with fairly wet pigment washes to paint summer trees.
Using each technique, the brush is rotated, to release the pigment onto the paper. 08
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For many of us achieving special effects, i.e. foliage on trees can prove difficult. Here is an example of how easy it is when using the correct brush with just a little practice. The hollow centre and unusual design makes trees ‘appear’ before your eyes. Visit rosemaryandco.com and search for “Rotary Tree Brush’’.
{The BRUSH with a MAGIC tip} The ROGER JONES Brush
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his beautiful size 12 Kolinsky Sable brush with a ‘magic tip’ was designed by Roger, and is used for all his watercolours.
The extra tip allows exact detail, whilst the typical belly of Kolinsky Sable hair enables fluid carrying capacity like no other. The watercolours shown here are painted exclusively with this brush. Roger comments, ‘‘the crucial extra tip enables all this and more’’. Roger’s Brush Set (above) consisting of the Size 12SP, Size 8 & 4 Pure Kolinsky Sable Set RJB = £76 / $94 Please visit rosemaryandco.com for more details.
Brush Designed by Roger Jones, who can be found at: www.roger-jones.co.uk Rosemary & Co
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{GUEST of the MONTH} SLOW and LOOSE By Jenny Oldknow
Jenny Oldknow spent most of her formative years in a small Lincolnshire village on the backs of various ponies, roaming the countryside and seeking out the local wildlife... and drawing it.
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ou have probably heard the phrase ‘fast and loose’ when painting in watercolour. However, painting ‘slow’ suits me far better, and also helps those new to watercolour get to grips with what is often regarded as a difficult medium. Looseness to me is far more about the artists’ mental approach to painting, than actual specific techniques. It requires a 10
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delicate approach to brushwork, using the tip of the brush most of the time. Rosemary’s new Series 8 range of Kolinsky Sables have extra long tips, which helps me keep control, yet with the unique water-carrying capacity of sable, in order to make expressive marks. ‘‘ Looseness to me is far more about the artists’ mental approach to painting...’’
“I have loved the countryside all my life, and drawing and painting it remains my passion. My studio is surrounded by stunning Derbyshire countryside, which continually provides a great source of inspiration for my work.’’
I
have adapted the traditional wet-in-wet technique by applying colour to dry paper, then applying water directly to the wet paint, softening off some of the edges, then adding further pigment to the wet areas created. This gives far more control of where the paint goes, yet still giving a beautiful soft, wet effect, retaining the vibrant transparency of the medium.
When people watch me paint, they are usually surprised at how slowly I work. Every mark and splatter has to add something to the painting, not detract or overwork it. ‘‘ Art doesn’t always have to be about the prettiest, most visually appealing subjects.’’ See more of Jenny’s work at: www.jennyoldknow.com Rosemary & Co
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{Travelling light for PLEIN AIR} The ART of COMPLETING on LOCATION By Roy Connelly
‘‘For some, Plein Air painting is an end in itself. For others, it is a way to gather information for painting in the studio.’’
See more of Roy’s work at: www.royconnelly.com 12
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irtually everything I paint is completed on location. I feel there is a tremendous energy to be found standing amongst the raw elements of a painting, and that energy can be lost when painting from a photo in the studio. There are many elements working against you en plein air and there are many variables involved - changing light, people coming and going, changing tides etc. You also have to contend with the weather and onlookers wanting to chat. Therefore, I think it’s important to have as many things in your favour as possible. I like to travel light and, over the years, have refined my kit, seeking out the best possible tools and materials for the job. I don’t use a huge range of colours, and always lay out my palette in the same order, so I instinctively know where to find the right colour. One thing that has remained constant for many years has been my brushes – handmade in Yorkshire by Rosemary and Co.
{ARTISTS around the WORLD} ONES to WATCH on SOCIAL MEDIA
FELICIA FORTE
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elicia currently teaches at Sadie Valeri Atelier, and has taught at various institutions including The San Jose Museum of Art and The Walt Disney Family Museum. Felicia Forte
VINCENT XEUS
DAVE MOORE
D
ave Moore is influenced by many great artists, which is probably why his artworks are so varied, however his strongest influences are the French Impressionists.
B
orn in China in 1981, Xeus’ works beam with life; daring drips and impasto strokes. Known for his evocative, poignant and chiaroscuro laden compositions.
@DaveMooreArt
xeusverum
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{MASTER from the PAST} ARTHUR MELVILLE By Polly Hobbs
A
rthur Melville (1855–1904) was a landscape and figure painter, in oils and watercolour.
Melville’s extensive travels in Europe and the Middle East inspired his vibrant paintings in oil and watercolour.
added more directed brushstrokes as the paper dried, helping to define forms and figures to produce his desired effect.
He was one of the most innovative and radical Scottish artists of his generation, and one of the finest British watercolour painters of the 19th century, specialising in weton-wet paintings with brilliant melting colour.
He developed a new watercolour method saturating the paper with Chinese white paint, and used sponges to create a velvet-like texture. He then re-wetted the surface, and dropped in pure browns, reds and blues to build the shapes, painting with diffuse blobs of colour. Once the values and basic forms were blocked out in this way, Melville gradually
‘‘He was one of the most innovative and radical Scottish artists of his generation...’’
Melville, born in Angus, studied painting in Edinburgh, before moving to Paris in 1878. 14
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His fascination with effects of brilliant light and his boldly dramatic compositions had a revolutionary impact on watercolour as an art form. Images courtesy of: www.nationalgalleries.org
STUDYING at an ATELIER By Mark Popple
Although I am originally from the UK, I am currently a student at an atelier in NYC. After years of working on large abstracts, and then on fast Plein Air works, I decided I would go back to basics, and really learn how to draw and create form. The course study is demanding, humbling and very rewarding. It is hard to draw and paint form in a convincing manner. It is humbling when you see just how good people can get. This applies not just to the tutors, who are the best and who give unstintingly; but also to my fellow students. After two years of drawing and painting from plaster casts, we get to paint from the model in year three. The rewards speak for themselves when you see the leaps and bounds that your work takes; and the energy that is bouncing around the studio in the study of Art. Anybody who has the chance to attend an atelier should grab the opportunity with both hands. Just one thing ... make sure you have good brushes! ...� Rosemary & Co
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See WHY the WORLDS LEADING ARTISTS USE our BRUSHES
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+44 1535 632666 enquiries@rosemaryandco.com www.rosemaryandco.com