Category: Everything Art
Fleetwood Smack, FD 27 By Roger Jones
Brush Reviews And Advice – When Daggers Are Drawn
As with many of our brushes at Rosemary & Co, we rely on the world’s top artists to tell us what they need and work hard to make the specific brush for them. At the beginning of 2015, Australian artist, Liz Steel contacted us and asked if we could make a brush shorter than the sword liner (a dagger brush), but in the larger sizes, and suitable for travelling. Liz describes why she uses a dagger, “mainly to get more expressive strokes – thin strokes like a rigger, big wider strokes like a flat and lots of other expressive calligraphic marks.
Master Of The Month – Interview with James Willis
Painting – Peony – Step By Step
When Faith And Art Intertwine – Iconography Through Art
There 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.
Master From the Past – Georgia O’Keeffe (1887-1986)
Using Varnish Brushes – Applying The Finishing Touches
Interview With Svetlana Orinko
When did you first start painting?
I was born and grew up in Ukraine and at the age of 7 I was placed in an institution for disabled children due to a misdiagnosis. To escape the harsh realities I found comfort in painting and drawing and after 5 years of living in an extremely sterile environment, one of the teachers noticed my abilities and encouraged my parents to enrol me in to Art School.
Plein Air & Finishing In The Studio
When working from life, I’m painting the effect of light on my subject. Light moves fast and I must be quick to capture it. Most times I get it in one sitting; occasionally I’ll have to finish back in the studio. How do I prepare for this? After setting up my easel I always take a photo of the subject. This is a record of the light effect and a handy reference for later.