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OUR monthly NEWSLETTER filled with INTERVIEWS & TIPS for your ENJOYMENT
www.rosemaryandco.com
Issue 10 September 2015
This set contains 17 brushes (all on Long Handles): Ivory Long Flats, Sizes: 0, 1, 2, 4, 6, 7, 8, 10, 12, 16 Ivory Longer Filberts, Sizes: 0, 2, 6 Series 279, Masters Choice Long Flats, Sizes: 2, 6 Series 278, Masters Choice Longer Filberts: Sizes: 1, 3
ÂŁ116 / $148
Full Set
The JASON SACRAN Set from ROSEMARY & CO
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WE are SURROUNDED by BEAUTY
“Art is not what you see, but what you make others see’’ - EDGAR DEGAS
W
e are surrounded by beauty. Each day, when you open your eyes, make it count. We can sometimes forget to appreciate what really matters. Can I urge you to stop for a moment, take a deep breath and breathe in the beauty that surrounds us all. As always, I’m so grateful for all of the artists who jumped on board for this edition. I especially want to wish our Master of the Month, James Willis all the best for his exhibition in London this month. I would highly recommend taking the time to see it if you are able to get to London.
{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
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ICONOGRAPHY through ART
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ONES to WATCH on SOCIAL Media
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MASTER from the PAST
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MARKETING Yourself as an ARTIST
Open your eyes and see the beauty this month! Cover image courtesy of James Willis. www.jameswillisart.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 632666 Int’l: +44 1535 632666
W: www.rosemaryandco.com E: enquiries@rosemaryandco.com
LETTER of the MONTH We LOVE to HEAR from YOU Hi Rosemary, Firstly thank you so much for the prompt dispatch of the brushes ordered, four days to New Zealand is exceptional. I am looking forward to using your brushes which were recommended in Richard Schmid’s excellent instructional book Alla Prima. While still at work and looking eight years ahead to retirement I took up pottery, but now twenty years later I have just changed to painting in acrylics (as well as having moved to New Zealand from the UK in the meantime). With only one years painting behind me and largely self taught, I am beginning to feel that I can, with effort and the right tools, make a reasonable fist of it. My only regret is that I didn’t discover the joys of painting earlier in my life, now at 72 I have got to cram a lot in. Your newsletter is interesting and informative and I look forward to future editions, although I have to say that the examples of professional painting do make me realise just how far I have to travel. Thank you again. Mike Gilbert Waipara, NZ
Thank you for getting in touch Mike, 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 the ACADEMY of REALIST ART
Following successful growth in North America, the Academy of Realist Art (ARA) has now brought its world-renowned curriculum to the UK.
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he Academy of Realist Art is one of a select few academies in the world that utilises the academic approach to drawing and painting. They model their curriculum and teaching methodologies on those used by the 19th-century European academies, with the aim of helping students achieve the highest calibre of skills possible. ARA’s highly successful, graduated academic process teaches students of all levels to see the objective truths found in nature and the fundamental skills needed to represent them. The Edinburgh Academy was founded by Ewan McNaughton who tells us, ‘‘My ultimate goal is to create a new opportunity for
artists to be liberated and become the artists that they long to be.’’ The academy encourages their students to use Rosemary brushes right from the start, and it really is our pleasure to introduce them as our friends of the month. Rosemary will be visiting Ewan and his students in Scotland at the Edinburgh Academy on the 1st and 2nd of October 2015 to demonstrate how the brushes are made and will have brushes to sell. If you’d like to drop in, please get in touch with us and we will make the arrangements for you, or contact Ewan. Please visit their website at: www.academyofrealistart.co.uk Rosemary & Co
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{MASTER of the MONTH} INTERVIEW with JAMES WILLIS
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rtist James Willis has a BA Hons in Fine Art and Music, as well as an MA in the History of Art. He was the resident artist at the Sir John Soanes’ museum for some years and runs lectures on painting techniques and concepts. HOW LONG HAVE YOU BEEN PAINTING? My mother still has a portrait drawing I made of my father at work when I was about 7 years old. But my earliest memory of using paint is at school a few years later. TELL ME ABOUT YOUR TRAINING AND EARLY ARTISTIC AMBITIONS? After school I studied for my Batchelor of Arts with Honours degree at Chester University, England where I combined Fine Art and Music (I am a pianist). A little later 06
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I studied the History of Art for my Masters Degree at Birkbeck College, London. After my first degree I did the sensible thing and found a “proper” job in the finance industry until one day I decided to leave that career and concentrate purely on a more creative one. WOW! THAT WAS BRAVE. HOW DID THAT WORK FOR YOU? In this country it can be very difficult to work just as a painter and you often need to find other work to supplement your income. Fortunately for me, I have always been able to find other creative projects and have been very fortunate to work in some amazing places. Everything I have been involved in has certainly added much to my experience. Painting has always been part of that so to answer your question, and it is about twenty years since the finance job, yes I think it has worked.
YOU MENTIONED THAT YOU HAVE BEEN INVOLVED IN OTHER PROJECTS, WHAT WERE YOUR FAVOURITES? In 1997 I founded a large Arts Centre in Hertfordshire. Over eighteen years on, I am pleased to say it is still going strong. After that I was greatly privileged to be asked to set up a programme of creative workshops for Sir John Soane’s Museum in London. There, I designed and ran regular arts activities for people of all ages and abilities. Inspired by the magnificent Soane collection, the programme gave people the opportunity to be inspired and develop their creativity just as Soane himself had written – to provide “an academy” for the benefit of students and artists. More recently I have become involved at the Old Royal Naval College at Greenwich, London where a new programme of creative activities is underway. Alongside these projects I lecture in Art History for various institutions, linking practical knowledge with historical perspectives, working with young architects at the Bartlett School of Architecture, UCL and several groups of artists during the week.
TELL ME ABOUT YOUR UPCOMING EXHIBITION? It is a solo show in London called, “The London Paintings” and the theme is, unsurprisingly, London and its buildings. When I was at the Soane Museum I became very interested in the architectural drawings and paintings which form part of that amazing collection. I have always been interested in buildings and perspective, but here was the chance to put my experience into practice. The works are all views of the city, but often taken from high or unusual viewpoints, exploiting the spread of the architecture below using complex perspective. The exhibition comprises large panoramas of contemporary London, where classic and modern buildings wrestle for space in the city. The strong skyline and complicated details are elements of each piece and another important feature is the river Thames winding its way through the city. Images courtesy of James Willis. Willis’s exhibition is one not to miss. For more information please visit James’s site: www.jameswillisart.co.uk Rosemary & Co
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{USING VARNISH BRUSHES} APPLYING the FINISHING touches
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ou might think whats the point in spending money on a decent varnishing brush when you can just use an old large brush? I’d argue that considering it’s the final stage of a painting, it’s worth a small investment to ensure it’s done right. Decent varnish brushes don’t wear down easily, and have a tight groove that prevents reflection where you don't want it. You can choose from a variety of brushes, either way it needs to be soft 08
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with some spring. You need to know the hairs won’t fall out when you’re applying the varnish too, which is another reason for avoiding cheap DIY brushes.
NAMES OF BRUSHES, LEFT TO RIGHT: Pure Bristle Varnish brushes: Series 3099, Series 2060, Series 26, Series 24. Natural Badger hair: Series 444. Synthetic Mongoose: Series 666. Golden Synthetic: Series 222. Please visit our site and search “Varnish Brushes”.
TIPS for VARNISHING: 01
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Varnish the whole painting in one go. If you only do part and this has started to dry before you do the rest, you'll end up with a line in your work. Try to have the same amount of varnish on the brush for each stroke making sure you have equal amounts of varnish all over the painting. Work in a dust-free environment, otherwise dust particles will get stuck in the wet varnish. Always test the varnish first, perhaps on a discarded piece to establish whether this will darken or lighten your work.
Cleaning your varnish brushes thoroughly is also very important. I’d recommend you soak your brush in mineral spirits, and use a comb to clean out the bristles. Once you are sure the varnish is removed from the brush, clean with dish soap or detergent, rinse extremely well then leave to dry. Remember, varnish will seep up the bristles if you do not clean the brush thoroughly, causing small dried flakes that could loosen up when you are next applying varnish and leave little specs on your work. Please note, varnishing a painting can vary depending on whether you are working in watercolour, oils, and acrylics. Make sure you read up more on varnishing before you get started. Please visit our website for more details: www.rosemaryandco.com Rosemary & Co
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{GUEST of the MONTH} PAINTING ‒ PEONY ‒ STEP by STEP By Helen Campbell
Campbell has seen extraordinary success from first picking a paint brush up in 2009. Helen's work is contemporary and often larger than life.
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ainting flowers is always a joy, but who could argue that attempting to capture all of the different colours and tones, can be a daunting prospect? Here, I have put together a seven step tutorial on how to paint this vibrant, blousy peony so that with a little practice and patience, you too can create a work of art!
It is important that as you work through the tutorial, you allow each layer to completely dry before attempting the next. It is also vital that the thicker washes are not too thick as they can become “muddy”. Throughout the guide I refer to washes as being watery (ie have very little pigment but a lot of water) or “creamy” (ie a lot of pigment to produce a stronger colour).
I will show you that watercolour need not be just weak and watery, but with careful application and by slowly building up layers, you can produce strong, vibrant colours.
The pencil drawing should be “clean” and not sketchy. Make sure you have a good strong outline to trace if needs be.
I have purposely kept colours to a minimum, so if you are completely new to painting, you need not buy lots of paints. 10
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I work from photographs that I take myself, either in situ, or in my studio – the reference photograph for the peony was taken from a sunny spot in my garden.
MY MATERIALS: use hot pressed paper with a particularly smooth surface. For brushes, I only use one Rosemary brush which is a pure sable “spotter” Series 93 in a size 3 on the shorter handle. This gorgeous little brush has shorter bristles, than regular brushes and has a strong, resilient point. I use it in a way similar to that of a felt tip pen, rather like colouring in. These are made by Rosemary herself, and I would be lost without them!
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COLOURS USED: 1. PERMANENT ROSE 2. SCARLET LAKE 3. PERYLENE VIOLET 4. SAP GREEN Images courtesy of Helen Campell. See more of Helens’s work at: www.helencampbellart.co.uk Find her on Facebook: Helen Campbell Art Rosemary & Co
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{ICONOGRAPHY through ART} When FAITH and ART INTERTWINE By Tim Gagnon
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here is a beautiful Hebrew tradition called, “Hiddur Mitzvah”. This ancient practice, dating back to the Babylonian captivity, interprets a passage from the book of Exodus to mean that believers should glorify God, “in a beautiful way”. In other words, art can and should be, an intimate act of worship. This profound concept inspires me daily. My faith and my art intertwine for a single purpose, and an audience of one.
incorporate luminous painting techniques to my color palette. Photographs never do it justice and it can be quite mesmerizing. Rather than hand calligraphy, the text is created digitally and printed on acrylic gel mediums. This creates a clear acrylic sheet with text that is then applied over the gilded surface. The result is beautiful calligraphy embedded into gold. Depending on the composition, parts of the painting may be painted in acrylic under the text. Once everything is cured, I paint the main figures in oils.
My work as an artist combines this tradition with several techniques into a rather lengthy process. I work nearly exclusively on gilded wood panels, paying homage to medieval illuminated scripture. Light passes through the paint, reflecting off the gold leaf underbase and back again through the paint creating an almost supernatural glow. To further enhance this natural luster, I
The subject matter for the figurative paintings is primarily based on the scripture verse chosen. While some are cut and dry, like David & Goliath, others passages require a more metaphorical interpretation.
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Images courtesy of Tim Gagnon. See more of Tim’s work at: www.angelologyexhibit.com
{ARTISTS around the WORLD} ONES to WATCH on SOCIAL MEDIA
JONNY ANDVIK
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ndvik is one of the foremost figurative painters of his generation in Scandinavia. He is a respected educator and has taught over 700 students in his School of Painting in Telemark. Andvik's work is emotive and captivating. Jonny Andvik Artist
SALLY TRUEMAN
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RODRIGO GONZALEZ
ruman was friends with the Royal portrait painter, John HughesHallett who unsurprisingly influenced her work to focus on portraiture. Sally’s paintings hang in corporate and private collections worldwide.
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rom Mexico, Rodrigo harnessed his draughtsmanship at a young age. His love for portraiture can be seen throughout his work, though he is also a great studio and Plein Air artist too. He works predominately in Oils.
@sallytrueman
Rodmongon
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{MASTER from the PAST} GEORGIA O’KEEFFE (1887-1986) By Kathy Cousart
Fig. 1
Fig. 2
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eorgia O’Keeffe is one of the most significant and intriguing artists of the twentieth century, known internationally for her boldly innovative art.
O'Keeffe was known for her striking flower paintings and other captivating works. She took to making art at a young age and went to study at the Art Institute of Chicago in the early 1900s.
Her distinct flowers, dramatic cityscapes, glowing landscapes, and images of bones against the stark desert sky are iconic and original contributions to American Modernism - a style of art that departed significantly from the traditions of the past. In a career spanning more than sixty years, she produced more than a thousand artworks.
O’Keeffe found an advocate in famed photographer and gallery owner Alfred Stieglitz, who showed her work to the public for the first time in 1916. Married in 1924, the two formed a professional and personal partnership that lasted until his death in 1946. Some of her popular works from this early period include Black Iris (1926) and Oriental Poppies (1928).
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Fig. 3
After frequently visiting New Mexico since the late 1920s, O’Keeffe moved there for good in 1946 after her husband’s death and explored the area’s rugged landscapes in many of her works. This environment inspired such paintings as Black Cross, New Mexico (1929), Fig. 1, Cow’s Skull with Calico Roses (1931), Fig. 2, and Jimson Weed (1936), Fig. 3. O’Keeffe died on March 6, 1986, in Santa Fe, New Mexico. “ To create one’s world in any of the arts takes courage.” -Georgia O’Keeffe Images courtesy of: www.georgiaokeeffe.net
MARKETING YOURSELF as an ARTIST By Symi Jackson
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DO YOU HAVE A WEBSITE OR BLOG? Do you check it regularly to make sure it’s running smoothly? Do you keep it updated? All of these should be a daily routine, just a quick check on things will never hurt. If you can’t manage a website, try to create a blog.
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FACEBOOK, TWITTER OR INSTAGRAM? Collectors, Followers, Students, Art Friends… the list continues, will be interested in what you are up too. Make sure you have an “active” presence on these platforms. It’s easy when you know how. Ask art friends what they use, and start off small, but do get involved, it’s so important to reach people and allow them to reach you easily.
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ALWAYS CARRY YOUR BUSINESS CARDS. Sounds simple. Make sure you have business cards on you all the time. It looks professional, and is an easy way for people to contact you after they’ve met you. Make sure they have the correct information on them too, scribbles and crossings out do not look professional, get new ones if needs be.
ATTEND AS MANY EVENTS AS POSSIBLE. We’re always busy, but attending gallery openings, art shows, exhibitions, conferences, demonstrations and so on is so important to get your name out there, and to learn things. It’s a great networking opportunity.
ENTER PLENTY OF CONTESTS. You never know what you might achieve, but you’ve got to be in it to win it (as they say). Go for it, the worst that can happen is nothing, in which case, you’re no worse off. Dust off, and try again.
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GET TO KNOW YOUR SUPPLIERS. Ever wonder how the Masters get to endorse products? They contact their suppliers more often than not. Reach out and contact us, your paint supplier, your canvas supplier and so on. Introduce yourself. There might be opportunities waiting for you that you were not aware of.
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DON'T BE AFRAID TO FAIL, FAILING IS PART OF LEARNING.
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It’s the little savings in life that count We are up to 50% cheaper than other brands
We hand make our brushes and supply you direct; that's where you make a saving. We never compromise on quality.