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 quarterly NEWSLETTER filled with INTERVIEWS & TIPS for your ENJOYMENT
www.rosemaryandco.com
Winter 2016
Our brush sets make the perfect gift this Christmas time.We offer free gift wrap too. For more information about these sets, please visit our website.
www.rosemaryandco.com
Another YEAR OVER, and a NEW one BEGINNING
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s the dark nights are upon us, and the cold mornings creep in, it’s time to sit down, get comfy and grab a hot chocolate. Another year has passed, doesn’t time fly by when you’re having fun?! I always love Christmas time. It’s a great excuse to get together with people you haven’t managed to see throughout the year. It’s also a time when we can reflect on everything we have achieved over the past year. As a small family business, we are always looking to improve and grow. We look forward to a fantastic 2017 and wish you the very best for what the New Year will bring. Maybe you can try something new? A new teacher? A new medium? A new brush? This issue is packed with brush reviews, tips and advice. I hope you’ll enjoy flicking through the pages and filling your boots with inspiration. I’d like to thank everyone who came on board to help me, especially our Master, Soraya French. I’ve known Soraya since I was a little girl and have always loved her work, I hope you will too. We wish you a Merry Christmas & A Happy New Year!
SIGN UP for a COPY of OUR NEWSLETTER Sign up for a free online copy of this newsletter at: www.rosemaryandco.com/newsletter Or if you would like a hard copy through the post please email your address to: enquiries@rosemaryandco.com
Do YOU run an ART group, ATELIER, or SCHOOL? If you’d like us to send enough copies of the newsletter for your students we are happy to do so. Get in touch! The same goes if you’d like us to visit.
WANT to get INVOLVED? If you’d like to be involved with the quarterly newsletter, we’d love to hear from you! We’re always looking for fun stories to feature, brushes to be reviewed, books to be read and so on. Get in touch and you could see your name amongst these pages.
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Rosemary & Co Artists’ Brushes, PO BOX 372, Keighley, West Yorkshire, England, BD20 6WZ.
Rosemary Thompson, Managing Director. Symi Jackson, Sales & Marketing Director.
UK: 01535 632666 Int’l: +44 1535 632666 E & OE
W: www.rosemaryandco.com E: enquiries@rosemaryandco.com
{CONTENTS} 05
We LOVE to HEAR from YOU
06
FRIENDS in FOCUS
07
Pocket BRUSHES for URBAN Sketching
12
The EXTENDED Point BRUSH
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ILLUSTRATION & Brush WORK
25
ONES to WATCH on SOCIAL Media
26
New BRUSH REVIEWS
31
MASTER from the PAST
The IMPORTANCE 32 of VARNISH Brushes 33
You ASKED, we ANSWERED
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What’s NEW on the SHELF
35
GIFTS from the FIRE
COVER IMAGE Cafe life, Acrylic & oil on canvas. 75 x 60cm. Image courtesy of Soraya French.
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Featured MASTER Soraya FRENCH
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New PRODUCT REVIEWS
16
Our FEATURED GUEST
20
BRUSH Reviews & ADVICE
28
Rosemary & Co WORKSHOP
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A BRUSH for CAUSE
YOUR LETTERS We LOVE to HEAR from YOU
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Hi Symi,
saw in your newsletter that you are often looking for some interesting stories to share. This one is good for comic relief concerning the perils of plein air and losing some of my favourite Rosemary Brushes. I spent an entire afternoon painting Polly’s Bait and Tackle on a dock on the bay-side. It was very windy, so I tied a beach umbrella around a piling and set up my easel in the shade underneath. I kept my left hand on the easel the whole time even though it was heavily weighted down. Until I didn’t. Honestly, I felt the wind had died down late in the afternoon and I was getting tired and I needed to clean my brush. So for one second I took my left hand off and that was the moment my entire painting kit did a back flip off the dock, four feet down into the murky water. My jaw dropped with shock! Just before I shouted a four letter exclamation (oops) in front of a deck full of families eating dinner after taking a ride on the Pirate Ship, most of which turned to look as I jumped into the water before everything floated away on the tide. After all I still had another day, I needed my stuff!
I knew it was low tide but it was deeper than I thought! Everything went in, except my umbrella, my palette box, backpack, easel, painting, me.... The Challenge: It was clearly more challenging getting out than it was getting in. After all it was a boat dock and not a swimming area. But I didn’t even think about that until a nice group of ladies ran over to ask if I was okay and “Can you get out”? hummmmm I hauled myself into a nearby boat, (no small feat I might add), and they helped pull the ropes in so I could reach the dock. Nice people, we’ll probably keep in touch. Most everything was salvaged successfully, except sadly a few of my favourite Rosemary Brushes. My new friend Polly from Polly’s Bait and Tackle let me use her crab net to fish out my turp can, part of it at least, once I realised it was missing and the water settled down enough for me to see something shiny on the bottom. Everybody needs a little help from their friends. The plein air adventure continues… Bruce Bingham, Austin, Texas.
Thank you for getting in touch Bruce, 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 in FOCUS} We TALK to STRADA EASELS
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n accomplished painter, lecturer, inventor and world traveller, Bryan Mark Taylor is a true renaissance man. As a painter, Bryan has won numerous top awards in America's most prestigious plein air invitationals and his work has been shown in museums across the country. He has been featured in Fine Art Connoisseur, Plein Air, Southwest Art, American Art Collector and American Artist Workshop magazines. Bryan has had many successful one man shows and has been featured in numerous group shows including the Coors Western Art and recently won a gold 06
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medal at the California Art Club’s Gold Medal show. Bryan is represented by galleries in California, Colorado and Utah and his work is found in private, corporate and museum collections around the world. Bryan is a sought after teacher and lecturer and has taught courses around the country including the Academy of Art University, Pixar and the Scottsdale Artists School. He was a featured speaker at the 2012-2016 Plein Air Conventions and produced a bestselling instructional DVD titled “The Master’s Mind.” As an inventor, Bryan has developed a premier outdoor
painting system called the STRADA Easel which is used by plein air artists around the world. Bryan has travelled around the globe carefully observing and capturing nature’s everyday miracles. Bryan was born in Portland, Oregon. He received his BA from Brigham Young University in 2001 and his MFA from the Academy of Art University in 2005. He currently lives with his wife and four children in Alpine, Utah. Images courtesy of Strada Easels. For more information about Strada Easels, please visit their website at: www.stradaeasel.com
Pocket BRUSHES for URBAN Sketching By Liz Steel
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s an avid urban sketcher, I carry my sketching kit and sketchbook with me everywhere, so it’s important that I have a very efficient, lightweight but flexible selection of tools and materials. Having a pocket/reversible brush (or two) makes a lot of sense as they are compact and well protected. Rosemary & Co has a great range of pocket brushes and for many years I used the R2 Kolinsky Sable round. These days my favourite pocket brush is the ¼” Sable Blend dagger (R13) because you can do a lot using this brush; the edge or full width is perfect for working in small sketchbooks. When I travel, (which I did for 8 weeks this year in Italy and the UK), I carry an A4 landscape sketchbook as I am sketching all day. My go-to brush for this larger size is the ½” series 772 dagger which I carry in a toothbrush holder – it’s the only brush I need.
I work quickly and spontaneously. Most of my sketches are completed in less than half an hour (often only a few minutes). I don’t have time to switch brushes - I just need to pick up one brush and go for it. My goal is to lay down bold washes with expressive strokes. I may come back and add a second wash wet-in-wet to some areas, but normally, I try to make the first pass do most of the work. Rosemary’s 772 dagger allows me to switch easily between drawing using its point and laying broad washes using it on the side. The most important thing when sketching in watercolour is to have a very clear idea at the start of what you want to record on your page. Once you have that, just go for it, take risks and have fun! Image courtesy of Liz Steel. For more information about Liz Steel, please visit her website at: www.lizsteel.com Rosemary & Co
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{MASTER of the MONTH} INTERVIEW with SORAYA FRENCH
Soraya French is a well known Iranian artist known for her vivid use of colour in watercolours, oils, pastels, acrylics and mixed media in a variety of subject matters. HOW DID YOU FIRST GET INTO PAINTING? Painting has been a big part of my life since childhood in one form or another. We moved house a few times when I was young and the first thing I used to do was to make friends with the local stationers/ art shop. Old habits die hard. I have many friends amongst art manufacturers in the UK, Europe and across the pond. I still have my aquarelle pencil box from when I was 7 years old and my dried up Gouache set from my teenage years. I never dreamt art would become a career. 08
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WHO ARE YOU INSPIRED BY? I first fell in love with the works of the Impressionists when I was in my teenage years. My student flat in Cambridge was covered with their posters. A little later on, I found the Fauvist and Nabis movement made a huge impression and opened my eyes to the magical world of colour! I found the sublime colour and light in their work awe inspiring. I also love many of the Scottish colourists both past and contemporary; Ivon Hitchens, Keith Vaughan, Richard Diebenkorn and Gerhard Richter are some of the abstract painters I really admire.
WHAT IS A USEFUL TIP YOU PASS ON TO YOUR STUDENTS? Be inspired but don’t become a paler imitation of the artists you admire. Individuality and authenticity are hugely important. Paint what you truly love, not what you think may sell. Your emotional connection with your subject matter will resonate with your viewer.
WHEN DID YOU FIRST USE ROSEMARY’S BRUSHES? I have got some ABS brushes which I must have bought over 20 years ago. I met Rosemary 13 years ago after she had launched her own brand, and have watched her business grow into the truly welldeserved global success that it is today. I have used her fantastic brushes ever since.
WHICH BRUSHES DO YOU USE? I am a brushoholic and have a large collection of some weird and wonderful brushes which I use for one reason or another. Most of the brushes I can’t do without are from Rosemary; a set of long flat Ivory brushes in sizes 10, 8, 4 & 2 plus a couple of Riggers. Kolinsky Sables (series 33) sizes 8 & 10 and of course my soulmate the flat one stroke (series 222) sizes 1” and 2”.
HOW DO YOU CHOOSE YOUR SUBJECT? I love any subject that allows me to indulge in my passion for colour, texture and pattern. I also find people in everyday life situations and their interaction with each other absolutely fascinating. My travels are also a major source of inspiration. Continued overleaf... Rosemary & Co
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I often come back from teaching abroad with enough source material to last me a decade to get through! But I am lucky if I can manage to paint even a fraction of them because of my hectic schedule. YOU WORK WITH ALL MEDIUMS, DO YOU HAVE A FAVOURITE? For me painting in mixed media means the absolute creative indulgence; it satisfies every need I have as a painter. I can enjoy the unpredictable and exciting process of working with transparent acrylic inks and watercolours as well as the texture of the heavy body acrylics. There are jewel like colours in a variety of soft, oil and wax pastels too. My array of Golden gels and pastels help me create every type of texture under the sun, what more could I ask for? 10
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“I love any subject that allows me to indulge in my passion for colour, texture and pattern.� TELL ME MORE ABOUT THE SOCIETY OF WOMEN ARTISTS? The Society was formed at a time when women were not considered to be serious contributors to the field of art and had great difficulty in obtaining a public exhibition of their work. Since 1857, the SWA has provided a great platform for showcasing the paintings of some of the best female artists in Britain. I am absolutely honoured to be their Vice President and very proud to have been elected to step into the role of their President from Mid July 2017.
YOU TEACH WORKSHOPS ALL OVER THE COUNTRY, WHERE CAN PEOPLE FIND MORE INFORMATION? Details of my studio workshops and painting holidays abroad can be found on my website www.sorayafrench.com. I also teach at Dedham Hall three times a year. For more details regarding workshops around UK and forthcoming exhibitions I can be contacted by email: contact@sorayafrench.com. WHAT SHOULD STUDENTS EXPECT ATTENDING ONE OF YOUR WORKSHOPS? My studio is based at Project workshops which is a very unique and amazing creative oasis set in rural Hampshire and overlooks a beautiful garden. My students can expect to find a warm and welcoming atmosphere and a very passionate tutor who will guide them through their creative process with a great deal of patience and enthusiasm. My husband Tim, provides a welcome interlude at mid-day with his fabulous lunches too! Many of the artists return time and again, which I hope means we are doing something right. WHAT ARE YOUR PLANS FOR THE FUTURE AND YOUR CAREER? So far so good! Who knows what the future holds? I am a one day at a time kind of girl. Art is interwoven into every aspect of our family life, so there will be no retirement on the horizon (ever) and I hope that with the support of my family, I will be able to embrace more artistic adventures that may come my way. One thing I know is that I will always be painting and so the journey continues...
Images courtesy of Soraya French. For more information about Soraya French and her workshops, please visit her website at: www.sorayafrench.com Rosemary & Co
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{The EXTENDED Point BRUSH} The POSARA BRUSH By Sandra Strohschein
Fig. 1
Fig. 2
Having listened to renowned watercolourist, Sandra Strohschein, we have created a beautiful extended point brush. Acting as a rigger, but with a reservoir ‘belly’, the Posara Brush will soon become a favourite.
I
t was such a joy this year to introduce a new brush into my set. Developed specifically by Rosemary at my request, I now have a new rigger that by design holds a great deal of water and pigment at the base, which allows me to carry a line forever. I expected a great rigger from this, but did not expect that this size 8 rigger had the capability of painting entire paintings all on its own. Here is an example of what I’m talking about: Fig. 1. I laid in all of the basic underpainting washes by using the side of my brush and gently pressing. 12
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Fig. 2 & 3. I am continuing to paint using the side of my brush gently introducing medium shapes. Fig. 4. This brings me to my favourite part of every painting, the calligraphy of graceful and endless line work. I use the tip for every line imaginable. In this case we have fine line shadow work from the grasses. Earlier in the painting process I also used just plain water on the tip to stroke in transparent grass blades and also scratched some out with my fingernail. The blend of synthetic and sable allows for excellent drawing without the tip being too soft too!
“With sable at the base to hold a vast amount of water and pigment, I can carry a line forever.” Fig. 5. Here at the last minute I tried something new with my brush, I tried splattering with this long rigger, something I have never done before and was amazed at the result! Look at the tiny splatters within the grasses. I had not thought this possible with the Posara brush but it exceeded my expectations! Fig. 6. My finished painting which is 9 x 12 completed with one brush, “The Posara”, named after the group which test marketed it in Italy with me this past summer.
Fig. 3
Fig. 4
Thank you to Rosemary and team for creating such an amazing brush. The Rosemary & Co Posara brushes are currently available in four sizes (2, 4, 6, 8) on the shorter handles, but Rosemary is working on making them available in a sizes 10 & 12 by the New Year. As always, we’ve worked closely with Sandra to ensure this range is something she can recommend to her students with confidence, and we know many other watercolourists will enjoy the extended needle point brush too.
Fig. 5
Images courtesy of Sandra Strohschein. To find out information on Sandra and her work please visit her website: www.sandralstrohscheinfineart.com
Fig. 6 Rosemary & Co
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L ED im IT ited IO N
New PRODUCT Reviews LEATHER Brush WRAPS & JOURNALS By Symi Jackson
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e’ve handmade these limited edition landscape & portrait journals as a beautiful gift (maybe to yourself?) this Christmas. Made from the highest quality Buffalo and Italian leather with handstiching and beautiful paper; these journals are perfect for watercolourists on the go, or for studio use. They come with a handmade matching tote bag and are available in various colours.
Olive Green (L)
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Cappuccino (L)
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Mustard Yellow (S)
LANDSCAPE JOURNAL (LARGE) Contains 132 pages - Page size 32 x 17 cm Paper from St Cuthberts Mill, Bockingford Watercolour Paper 300gsm. £138 inc VAT (see colours available below: L). PORTRAIT JOURNAL (SMALL) Contains 108 pages - Page size standard A5 Paper from St Cuthberts Mill, Bockingford Watercolour Paper 300gsm. £115 inc VAT (see colours available below: S).
Acorn Brown (S)
Caramel Brown (S)
Ivory Black (S)
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vailable in different sizes and in a large array of colours, these handmade wraps are made to order.
Our brush wraps are made from the finest quality Italian leather. These are handmade ‘‘in house’’ and ideal for the artist on the go as well as for studio use. Put simply, the perfect gift. With these wraps being handmade, we are able to personalise them. When ordering, please be specific to the
colour of the wrap, the handle length you prefer (ie. should the wrap be for shorter or longer handle brushes) and the dividers inbetween. We will do our utmost to provide you with a beautiful leather brush wrap custom made for you. For more information about our handmade limited edition leather journals and leather brush wraps, please visit our website and search: Leather Wrap/Journal.
Our luxury handmade leather brush wraps are made in-house in various sizes and lengths and are available in the following colours: Choose your handle length & colour
Bordeaux
Pomegranate
Ivory Black
Chestnut Brown
Paynes Grey
Elephant Grey
Granite Grey
Plum
Burnt Orange
Dark Brown
Olive Green
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{Our FEATURED GUEST} We TALK to Illustrator EMMA BALL
Emma Ball is a renowned British Illustrator, based in Nottingham. Her works are sold throughout the UK in various shops. WHEN DID YOU START PAINTING? I have always loved drawing, as far back as I can remember. My Mum blames it on the Spirograph, but I think I always loved the feeling I have with a pencil in my hand! Once I left school I went on to sixth form where we had a great art department and the creativity started to flow. Maybe my watercolour skills needed working on at the time as my tutor suggested I gave them up! Obviously I didn’t, and from there I went on the Nottingham Trent Foundation course, followed by their Graphic Design Degree. 16
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After completing my degree I kind of fell into designing hand cut stencils and applying them to plant pots and fabrics. I then sold these via craft shows all over the country and even supplied John Lewis for a few years! WHAT INSPIRES YOU? Eventually, after an inspiring trip to Venice I began painting again and that’s just how this business began. A few Venetian cards grew to me painting Cornwall - then Devon, Scotland and then the rest of Great Britain! I guess it’s my love of the British Isles and colour that inspires me, tending to see each county in a different palette.
The coast is hugely inspiring and I love nothing more than painting a seagull! My latest range has been to design a set of animal occasion cards all wearing hats or doing daft things with little sayings around them. This range brought together my illustration and graphic skills and a love for typefaces! WHICH ARTISTS INSPIRE YOU? I’ve always loved Stanley Spencer, especially his Ship-building on the Clyde series, as well as Lucian Freud, the Impressionists, Mucha… my list goes on. I love a good lino-print and etching and some of today’s artists I love include Sasha Harding, Charlie O’Sullivan, Ian Phillips, Gerry Plumb, to name a few. WHERE DO YOU WORK, AND WHAT MEDIUMS DO YOU WORK WITH? Nowadays, I work from two studios, one at home and one in-between the warehouse and office here at work. I do prefer to work from home with my cats helping on the drawing board! I use a mix of watercolours and love Old Holland for their greens, Daniel Smith and Winsor & Newton who now have these fantastic large pans of paint, perfect for washes! Of course my favourite brushes are Rosemary’s! I prefer to use the Kolinsky Sable series 22 and 33’s. The brush sizes vary, but never ever smaller than a size 4 (I tend to prefer a size 6 or 7 as the points are still pretty sharp on those!). I never limit my palette of colours like some artists. It’s all about the colour with me and I tend to quite often mix as I work into
the picture adding a ‘splash’ of red to the sea green and more water over to see where it takes the picture. Surprise is the most exciting part of watercolours! WHAT ARE YOU WORKING ON AT THE MOMENT? So much, it’s making my head burst! From September onwards I’m chained to the drawing board creating new designs and products for the spring seasons. In a few weeks I’ll start thinking about Christmas 2017 (I know!) as it has to go into our early 2017 trade catalogue! As a company we now work with three (soon to be four) other artists, which creates a good variety for the catalogue and it is actually nice to work with other people’s designs too!
Images courtesy of Emma Ball. To find out information on Emma and her work please visit her website: www.emmaball.co.uk Emma has issued a code for 15% off to all Rosemary and Co customers valid until end of May 2017. Please contact us for the code. Rosemary & Co
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Which stocking would you like on your fi
fireplace this Christmas?
*Order online now in time for Christmas or telephone us on: +44 1535 632666
{BRUSH Reviews, & ADVICE} Oil BRUSHES; A BRUSH Makers TOP TIPS By Symi Jackson
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e get asked all of the time for the ‘magic’ brush. Sadly, there is no such thing, though there are certainly plenty of options available. And although it’s difficult to recommend a brush to someone without knowing specifically what they are painting, here are some helpful guidelines I want to share. My first piece of advice would be to buy the best you can afford. I can’t tell you how much you will appreciate a good brush, once you get hold of one. You must remember that the brush should be an extension of your arm. The last thing you need is for the brush not to behave how you intended. Secondly, you need to decide what you need the brush to do. This may sound obvious, but very few people are able to use the same brush for their entire painting. 20
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If you know that you need a brush for – blending or softening your edges, as an example – that’s a start. Below I’ll try and break down the different types of oil brushes available, and what you should expect when using them. Another useful tip would be to figure out which handle length suits you best. Our shorter handles (also known as standard handles) are approximately 7 inches. The longer handles are approximately 11 inches, and are generally favoured by oil artists as they allow better perspective. If you’re really daring, we do offer a 24 inch handle which is a technique old masters such as Sorolla adopted. It’s best to separate oil brushes into Synthetic (fibres) and Natural (hair) when trying to explain the differences.
SYNTHETIC Fibre BRUSHES As an overall brush, Synthetics are all fairly easy to clean, withstand a good amount of abuse, and they are relatively inexpensive. It’s also important you should understand that synthetic fibres have come on in leaps and bounds over the past 10 years, like many other man-made products and so they no longer hold the taboo they once had. If you haven’t dared to try synthetics in the past because you thought they were ‘student’ grade, I urge you to reconsider. IVORY SYNTHETICS These are our most popular synthetic range for oils. They come in lots of shapes and sizes, and are available on the shorter and longer handles. The Ivory fibres have been sandblasted with shards of glass, which make them firm, and wear down well. They clean really easily, and last a lot longer than your average synthetics would. The Ivories will be a good work horse for you, and many of the leading artists all over the world consider these their go-to brushes. EVERGREEN SYNTHETICS The Evergreen Synthetics are a newer range for Rosemary & Co. We developed these as a present for some of our ambassadors a few Christmases ago. They are literally the Ivory brushes dyed Green (for Christmas!). It’s quite remarkable how the dye completely changed the temperament of the brush. The Evergreens are slightly softer than the Ivories, but still have a good snap. I’d recommend trying one alongside an Ivory brush; you’ll feel the difference. Similarly, they clean well, withstand a good amount of abuse and are inexpensive. SHIRAZ SYNTHETICS The Shiraz synthetics are ideal for oils, Acrylics and Watercolours. This range has an excellent ‘snap’ and ‘spring’ to them, with paramount resilience and durability. They are extremely versatile which makes them ideal for use with any medium. Again, they are easy to clean, and hold their shape well.
SYNTHETIC BRUSHES
IVORY RANGE
EVERGREEN RANGE
SHIRAZ RANGE Rosemary & Co
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ECLIPSE SYNTHETICS The Eclipse Synthetics are a synthetic mongoose, which is designed to mimic the real thing. They have much more spring than their natural companion (the Masters Choice). They are softer than the Ivories and the Evergreens. This fibre would be ideal for blending and softening work. They are particularly favoured amongst portrait artists too. The Eclipse have been dyed four times to look like the mongoose, and again, the dye does make them feel different than the other synthetics available.
ECLIPSE RANGE
NATURAL Hair BRUSHES As a general rule Natural hair brushes are more expensive than the Synthetic brushes. They are also usually softer and the hair will wear down more quickly with these. However, some of the marks you can gain from a natural hair brush just simply can not be achieved with a synthetic brush. It’s also important to remember natural hair brushes are usually more difficult to clean - but with the correct method, will come up like new. Baby shampoo and conditioner is always something to consider on natural hair from time to time. MASTERS CHOICE The Masters Choice brushes are our most popular natural hair oil brushes, a unique blend of badger hairs (previously the mongoose hair). They are absolutely brilliant for Alla Prima work, allowing you to work ‘wet on wet’ without pulling the paint away. The hair is responsive and firm, yet gives an almost velvet feel. They are ideal for adding highlights and tonal values. They are resilient and will wear down well. PURE RED SABLE The Pure Red Sable are a real treat for oil artists. They are a brilliant choice if flexibility and softness is needed. You can get precision with the Pure Red Sable, as well as it being a good blocking-in brush for drawing, particularly in the larger sizes. If you can afford to try the Pure Red Sables, I can guarantee you will not be disappointed. This hair is excellent for Alla Prima work, and wet-on-wet techniques. 22
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NATURAL HAIR BRUSHES
MASTERS CHOICE
PURE RED SABLE
ULTIMATE BRISTLE We offer lots of different bristle brushes, however the Ultimate range is our newest addition. The interlocked bristle brushes offer the artist a traditional brush but with double the interlock. We take two equal amounts of best quality Chinese bristle and set them opposite each other so that the natural curve is facing inwards. The bristle is selected in length and size, to enable perfect balance. Although labour intensive, this gives the artist a hard wearing brush which keeps its shape for a very long time. Easy to clean and a good performer. They are currently only available on long handles. CLASSIC BRISTLE The Classic Bristle is slightly different to the Ultimate Bristle. The Classic range is a blend of 90% Bristle and 10% synthetic. This blend allows the bristle to clean easily and wear down a little better. A long awaited range designed for the traditional oil painter who likes the feel of a bristle brush and the brush mark achieved, but doesn’t lack the durability and the way bristle can sometimes ‘splay’. This blend of bristle and strong synthetic is ‘interlocked’, allowing the brush to retain it’s original shape for much longer. CONCLUSION And finally, there’s cleaning your oil brushes. For now, all I will say is... make sure you do clean them well. It seems such a shame and a waste of hard earned money to have such beautiful brushes and be hindered by the fact they’re not cleaned properly. If you ever need some more help or advice, know that we are a small company and we are real people. We offer a free mail order catalogue. In there, all of the brushes have been photographed actual size. That’s really useful since there’s no universal brush size across the different companies, sadly.
ULTIMATE RANGE
CLASSIC RANGE
FLAT ASSORTMENT
Recently, I made up two assortment sets which give a taster into the different ranges of oil brushes we offer. These brush sets are great if you want to try the different hairs and fibres across the ranges. For more information about our oil brushes and cleaning tips, please visit our blog: http://blog.rosemaryandco.com
FILBERT ASSORTMENT Rosemary & Co
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Fig. 1
Fig. 2
Complicated ILLUSTRATION & BRUSH Work By Ray Mutimer
Ray Mutimer is a leading illustrator, known for his Postman Pat Books.
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y recent illustrations have been for a ‘Wind in the Willows’ community drama event, applying the story to locations in Knaresborough, Yorkshire, my home town. The images were used for promotion and fundraising. Figure 1 has all the characters on the river, with its famous viaduct.
absolutely know how my materials behave. I cannot afford to have a disaster during a complicated illustration and have to start again. My illustrations start off as a composition idea. A rough drawing is made, then a final one, on layout paper placed on top. This pencil drawing goes on a light box and is then inked in on watercolour paper. See Figure 2.
For books, my illustrations are always done the same size as they will appear on the page. I draw with a marker pen with lightfast pigmented ink or use black acrylic ink, very diluted, in a fountain pen. A line drawing cleanly coloured gives a crisp printed image.
Once the hard work is over, the painting part is a joy. I use a number 4 & 6 pointed Red Sable, Rosemary’s series 99 and Golden Synthetic, Rosemary’s series 301. The firmer synthetic works well with fine detail while the sable holds more paint for larger areas. I now never buy expensive sables, because like expensive papers, I save them for the perfect picture, the one I will always do tomorrow, which never comes!
I have used Rosemary’s brushes forever, for their consistent, reliable quality and excellent value. I always use the same make of paint, the same 14 watercolours, the same paper and brushes (this is good practice for any artist). Because I work to very tight deadlines I must 24
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Images courtesy of Ray Mutimer. Please visit Ray’s website at: www.raymutimer-artist.co.uk
{ARTISTS around the WORLD} ONES to WATCH on SOCIAL MEDIA
Ben WINSPEAR
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en Winspear is an Australian artist who works in oil, watercolour and more recently sculpture. He has been painting for over ten years. His work runs the full spectrum from representational through to abstraction, frequently combining both. Ben Winspear - Artist
Rosalind ROBINSON
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osalind Robinson is a scenic artist with the BBC. She has been a professional artist and specialist decorator for more than 25 years, producing her own paintings, murals and fine decorations on walls and furniture in the UK and abroad.
Pam HAWKES
P
am Hawkes works from within traditions of Renaissance portraiture; certainly at a technical level. Her paintings are remarkable and highly skilled depictions of sitters within exotic, lush and decadent settings. Hawkes is certainly one to watch.
@Mitsoren
pamhawkes
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“This reversible pocket brush is a convenient addition for those who like to paint on the move.”
New BRUSH Reviews The R9 - Pure SQUIRREL Hair MOP By Symi Jackson
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ur travel brushes have become increasingly popular over the last couple of years. Perhaps it’s because of the increasingly popular Urban Sketching movement, or perhaps it’s because people enjoy painting and sketching on the go. Either way, this reversible pocket brush is a convenient addition for those who like to paint on the move. The slimline cases we use allow for great balance, and a light feel to your brush. The beauty of squirrel hair is that it allows a large water carrying capacity, which enables you to perform a wash and 26
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then go straight into a point for the details, without having to dip back into your palette. The R9’s are conical in shape and have a thick belly, which swells when emerged in water. We hand-make the R9’s in a traditional quill method which enables you to be loose and expressive whilst switching to detail without needing to change your brushes. Ideal therefore, for painting on the go and not taking too many brushes out with you. For more information about the R9 and for other travel brushes please visit our website and search for: Pocket Brushes.
The PERFECT BLEND: The MUNDY Mops By Symi Jackson
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new range developed by Rosemary and C.W. Mundy. These soft goat hair mop brushes are ideal for softening and blending in oils and the oval shape allows for more control. The Mundy Mops clean easily and will soon become a favourite to your oil brush range. The Mundy Mops are available individually in 5 different sizes, or as a set. The brushes are available on the shorter/standard handles (approx. 7 inches) and the longer handles (approx. 11 inches). “I have tried them out and they work phenomenally well (not dropping hairs). These Mundy Mops hold and carry paint extremely well.’’ - C.W. Mundy.
Thanks to C.W. Mundy for his continued endorsement to our company. Image courtesy of C.W. Mundy Find these brushes on our website by searching for: Mundy Mops. Rosemary & Co
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ROSEMARY & CO Workshop TIMOTHY Rees TEACHES in YORKSHIRE By Symi Jackson
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n September 2016 we opened our doors here at our workshop to host our first Plein Air painting workshop with Timothy Rees from Scottsdale, Arizona. Tim and his students (all travelling from the USA and Canada) came and stayed in local villages (or my house!) in Yorkshire for the week. What a treat! With this being the first Plein Air workshop we’ve hosted, we were open to all eventualities, each day praying for beautiful weather. We were lucky, the sun shone and the rain stayed away (for the most part!). Rosemary and I took Tim and 28
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his students to a new location each day to paint their hearts out and fill their boots with the stunning Yorkshire countryside. Each location was only a short drive away from our workshop since there is so much to paint here. On the first day, Tim and his students painted our workshop and the grounds to ease them into Yorkshire life! The second day, I took them to one of my favourite places in the world; the ruins and church of the 12th-century Augustinian monastery, Bolton Abbey. The next few days were filled painting our local neighbouring villages;
Rosemary & Co's workshop will be hosting several Plein Air workshops in 2017. We will also be opening our showroom, by appointment only. Skipton, Laneshaw Bridge and Kildwick. Subject matters covered included canals, picture postcard villages, a historic castle, beautiful green cascading valleys, patchwork fields, farm animals and more. I think it’s safe to say there really is something for everyone here. We were extremely fortunate to have such a wonderful group of people in the workshop who made the week one not to forget. Tim is an excellent teacher and I know the students have taken so many memories from their time here in Yorkshire. A big thank you to Tim and his wife Brittany for their love and support to myself, Rosemary and our company. We appreciate all you do to spread the word!
In 2017, we look to open our doors to host some more Plein Air workshops in Yorkshire. Our dear friends Kathy Anderson and Jeremy Lipking are both confirmed to teach here. More information will be released soon. If you'd like to get involved, please contact them directly. This brings me to announce our workshop will be open by appointment only from Spring 2017. We are creating a magical place (which has taken a little longer than we thought - these things always do!). For more information please keep your eye on our blog, or email us.Visit Tim's website: www.timothyrees.com Rosemary & Co
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{A BRUSH for CAUSE} SET 20 for BREAST Cancer AWARENESS By Symi Jackson
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ctober was National Breast Cancer Awareness month and here at Rosemary & Co we wanted to do something to give a little back.
We have put together this beautiful collection of 7 synthetic brushes (including one goat hair mop too) on our new pink handles with the beginner in mind. We know it can be a challenge ‘guessing’ what to buy when you are just starting out and so we've done that bit for you! Our set 20 is ideal for any medium, and will get you started at a very competitive price. With balanced pink handles and smart black ferrules, the Set 20 makes a beautiful gift and is a delight to paint with. Originally, we were going to donate 5% of all Set 20 sales during the month of October to Breast Cancer Awareness. We’ve extended this donation for a further two months; November & December to try and raise as much money as we can. They are available with a beautiful optional brush case too. Set 20 makes the perfect gift. You'll love them. For more information about this set, search Set 20 on our website. Any questions please feel free to contact us at: enquiries@rosemaryandco.com 30
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INTRODUCTORY PRICE £16.95
5% of all sales from October to December 2016 from Set 20 will go to Breast Cancer Awareness.
{MASTER from the PAST} DAME Laura KNIGHT By Haidee-Jo Summers
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he English artist, Dame Laura Knight holds a special place in my affections. She died a year before I was born at the age of 92. In her long industrious career she was a popular and successful painter and was the first woman ever to be elected a Royal Academician in 1936 at the age of 59. Dame Laura painted in the figurative, realist tradition which we have come to know as English impressionism.What I respond to most about her work is that she avidly sketched and painted from life. Her subjects were the day to day life of poor fishing communities, gypsies, entertainers, ballet dancers and circus performers. She started her studies in Nottingham where she met her husband, artist Harold Knight and they were both members of the Nottingham Society of Artists, which I also
joined whilst I was still a student. They went on to live and paint in the northern fishing village of Staithes, which remains so unchanged you can easily imagine the characters they painted still working here. I am lucky to stay in Staithes (North Yorkshire) each year, as I now teach a Plein Air workshop for the Staithes Art School. The couple moved on to live and paint in Newlyn and Lamorna on the beautiful south west coast of Cornwall, enjoying the special quality of light there and the milder climate. They attracted a little community of like minded artists wanting to paint in the open air, such as Alfred Munnings. The book and film ‘Summer in February’ is based on their time here and focussed on Munnings relationship with his first wife. Images courtesy of: www.damelauraknight.com Visit Haidee-Jo's website: www.haideejo.com Rosemary & Co
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The IMPORTANCE of VARNISH Brushes By Kathy Anderson
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for the last few years, I (and many of my artist friends) have been experiencing varnishing issues (sometimes called nightmares), the most common being “beading” up of the varnish on the surface. I used to use Liquitex Soluvar gloss varnish, cut with 25% real turp (not gamsole). This method was, in recent years, causing severe beading. I then switched to Gamvar Picture Varnish , but was also experiencing the beading issue. Gamvar is made by Gamblin, and they have the best reps in technical support to talk with to work through problems. However, it was when I was at the Plein Air 32
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Convention last year and spoke to Dave in person that the problem has been solved for me. I brought a dry painting with me (oil on panel) and he showed me a method of mixing 5 to 1 cold wax medium into the Gamvar, wiping the brush after dipping on a soft cloth, and applying in a circular motion on the painting. This gave a very beautiful soft finish. I have done this at home, sometimes leaving out the wax, and the panel will get shinier, but no beading. The secret, I think is using a thin amount of varnish and working it in to the surface with the brush Also, definition of “dry” painting is touch dry and firm in the thickest areas of paint. A second coat is fine if
needed, when the first is dry. Okay, now what else could be important? Oh, The brush very important to use a really good quality varnish brush, and keep as a “dedicated” varnish brush. Rosemary & Co make lots. My favorite is series 444, a 1 1/2” brush. The best part? You don't really have to clean it – I usually do one dip in gamsol, dry thoroughly, and put back in the plastic wrapper. Even if it feels a little stiff, the varnish will soften it up. For more information about Kathy and to see her work please visit her website: www.kathyandersonstudio.com For more infomation on our varnish brushes visit our website and search for: Varnish Brushes.
{You ASKED, we ANSWERED} WHAT IS THE LATEST DATES TO ORDER IN TIME FOR CHRISTMAS? Please see below for the latest dates you can order in time for Christmas. Courier dates will vary over this period, please see our website or contact us for more information. Please note that we would always recommend you get your order in as soon as possible to avoid disappointment during this busy period. UK Royal Mail First Class Wednesday 21st December. USA / Canada / Finland / Sweden Royal Mail Tracked & Signed Thursday 15th December Australia / New Zealand / Greece Royal Mail Tracked & Signed Friday 9th December Cyprus / Asia / Eastern Europe Royal Mail Tracked & Signed Wednesday 7th December Rest of Europe Royal Mail Tracked & Signed Friday 16th December.
WHAT ARE YOUR SHIPPING PRICES? We ship worldwide. Prices may vary inline with the current exchange rate. UK Royal Mail First Class Free for orders over £40 (£2 under £40) USA Royal Mail Tracked & Signed £12.45 ($15.30) Fedex 2 - 3 Working Days £11.65 ($14.50) Europe Royal Mail Tracked & Signed £10.15 (€11.30) Fedex/DHL Courier 2 - 3 Working Days Quote on website. International Royal Mail Tracked & Signed £12.45 Fedex/DHL Courier 2 - 3 Working Days Quote on website. All internatinal orders are tracked. You will recieve your tracking number with 48 hours. Further details available at: http://blog.rosemaryandco.com/delivery-returns Any questions please feel free to contact us at: enquiries@rosemaryandco.com Rosemary & Co
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{Whats NEW on the SHELF} WHAT to LOOK OUT for this WINTER
JOE DOWDEN
SORAYA FRENCH
DAVID BELLAMY
How to Paint Water in Watercolour www.joedowden.net
Contemporary Landscapes in Mixed media www.sorayafrench.com
Skies Light and Atmosphere in Watercolour www.davidbellamy.co.uk
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C
R
owden is a renowned expert at painting water using the natural translucence of watercolour to capture it's beauty. Joe teaches his readers to paint what they see by sharing his simple, but painstaking techniques so that they can achieve the same extraordinary, realistic and dramatic results. This book is one for your collection.
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ontemporary landscapes in mixed media is a comprehensive guide to the exciting world of painting with a variety of different media, each with their own unique characteristics. Soraya's book is a collection of inspiring ideas and techniques, as well as sound advice regarding the creative process of making art. Coming out in spring, 2017.
enowned watercolourist, David Bellamy shows how to paint skies, light and atmosphere and how choices involving these three key elements can affect a painting. Bellamy's extensive travels and much admired painting style ensure that there are plenty of beautiful, inspiring paintings of skies, light and atmosphere throughout the book.
GIFTS from the FIRE; Design & DECORATION By Jonathan Chiswell Jones
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ecorating pots with a brush is something that frightens many potters. Perhaps, having spent time and energy making a pot they are afraid to spoil it with designs or decorations they are uncertain of, or perhaps they simply have no confidence in their ability to use a brush. Whatever the reason, proficiency only comes with practice and if you want to decorate in this way, you have to take that risk. Study pieces you admire, visit the V & A or other collections, the road to improvement is not mysterious, but it does involve commitment and perseverance. The particular technique I use is called reduction fired lustre, or clay paste lustre. First used a thousand years ago in the Middle East, lustre pottery entered Spain with the Moors, and was adopted in a couple of centres in 17th Century Italy. But it only appeared in Britain in the 19th century through the genius of William De Morgan, a friend of William Morris. It involves painting on the glazed pot with a mixture of clay and finely ground silver or copper salts, and refiring in an atmosphere starved of oxygen. As far as brush decoration goes, this technique has the advantage that anything you do not like can be wiped away easily because you are painting on the glazed surface of the pot. Until it is fired, a sponge and water is all you need to remove the paste. The challenge and the joy, lie in refiring the piece.
Success or failure is balanced on a knife edge; but when the firing is good, the hard work and the worry is forgotten and light reflected off silver and copper deposited in the glaze gives a new dimension to the work, sometimes accompanied by iridescence in the glaze or flashing of the pigment- all gifts from the fire for which we can only be thankful. You don’t need a great many brushes or brush strokes, to begin this work and with practice you will learn what you can do with each brush. I hate throwing old brushes away and have acquired a collection. Sometimes, I buy a brush simply for the delight of having a beautiful new implement in my hand. As one craftsman to another, I salute Rosemary! Please visit Jonathan’s website at: www.jcjpottery.co.uk Rosemary & Co
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Merry Christmas and a Happy New year! *C hristmas tree brush made by Rosemary.
Tel: 01535 632666 visit our website at: www.rosemaryandco.com