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Two Centuries at the Forefront of Art – Daler-Rowney

June 17, 2012 in Inspiration

After two centuries at the top of the art game, if you’re an artist of any kind, it’s likely that you’ve had the absolute joy of working with one of their materials at one time or another. We caught up with Bjorn Schalburg, to talk all things Daler-Rowney

Daler-Rowney

Could you give us a brief outline of the history and background of Daler-Rowney?

Daler-Rowney has been at the forefront of the art scene in one form or another for over two centuries. Key milestones and achievements include exhibiting at the Great Exhibition of London in 1851, collaborating with Turner as official lithographers, and setting the pace for pop art through the creation of acrylic colours with Cryla in Europe.

How has Daler-Rowney evolved since it was first established in 1783?

Daler-Rowney has always been driven by the market to evolve and reinvent itself in front of the ever-changing artscape. Since 1783, what began as a provider of wig powder has become a global reference in the fine-art arena, providing quality solutions for artists of all levels of expertise and accompanying their needs from the core materials that are drawing materials, colours, brushes, and surfaces across accessories and framing materials.

Daler-Rowney

Daler-Rowney Charcoal

Have changes in art trends and art movements affected your products in any way? Do art materials have to change with the movements?

We are fortunate to be in a market where the creativity and passion of the artists using our products naturally leads to developments within the product ranges we offer. We are of course in constant exchange with artists worldwide, who offer us suggestions, feedback, and constructive criticism to ensure that we remain at the top of our game. When a clear gap in the market is identified, we get together to discuss, define, and pave the way for breakthroughs that we feel will further enhance and catalyse the creative forces observed in the market.

Daler-Rowney

How much does Daler-Rowney value traditional materials – I noticed you have an egg tempera product for example.

I would gladly give you a tour of headquarters in Bracknell at some point where we still produce all of our colours. I am confident that you will be amazed by how much tradition and craftsmanship continues to filter through every drop of colour that we manufacture!

What makes your art materials so popular? How are they unique to other brands in the arts materials world?

One of the keys stems from our desire to provide the best quality art materials across four market segments (entry, amateur, fine-art student, artists’), always at the best possible price. Because we began our journey at the very top end of the spectrum in terms of quality, it has been relatively straightforward to develop quality products with slightly lower specifications to provide artists with materials suited to their needs that are cost-effective as well pleasurable to use. As a result, we have a very strong position within the student market with brands like System3, Georgian, and Graduate. All products developed by Daler-Rowney are crafted by the same experts overlooking the very finest products that we manufacture. 200+ years of experience becomes invaluable for all of these reasons.

Daler-Rowney

Are there any well-known artists in the past and present that swear by Daler-Rowney products?

Because of the presence and size of Daler-Rowney in the market, it is reasonable to assume that almost all artists, certainly in the UK, use some of our art materials. Out of respect for the many artists who shy away from being commercially linked to any one brand, we will opt not to drop any names!

Who are Daler-Rowney’s favourite contemporary artists and why? (For example, Do you follow artists that have a technical skill using texture and colour through oil paints?)

We have recently chosen to work with Hashim Akib on our System3 Original and Heavy Body campaign. What counts for us is raw talent, and what artists can do to inspire future generations. Hash is young-spirited, talented, creative, and personifies what we appreciate the most in artists.

Daler-Rowney

How important do you think art and creativity is in todays society? Do you believe that everyone should be creative, not just artists?

The wider population has never had so many opportunities to be creative as today. Creativity can be observed everywhere, and is transcending all traditional channels and mediums that we have defined art until today. Creativity is vital – art is therapeutic and makes people feel good, adding meaning to their lives. To answer the second question, we believe that everybody is an artist. It is part of the normal constitution of the human being, and dates back to the caveman.

How popular are your products amongst University students and graduates?

On top of being available in all college art stores, our products feature on all almost all lists given to students by art teachers. We have also recently developed many new ranges within our “Graduate” brand which are proving extremely popular in this segment of the market. Students are key in the world of art, and as a result are one of our key focuses and inspirations when developing new materials.

Daler-Rowney

Do artists progress through your product ranges as their technical ability or career progresses?

Because of the launch of our “Simply” range of entry level products five years ago, artists are now able to progress across four different ranges. We encourage this evolution, as overspending on art materials is an obstacle to progression, and we are obviously here to remove obstacles and not create them. The quality of these products also ensures that from the very beginning, artists get good results, which is also fundamental if we want budding artists to continue indulging, experimenting, and progressing artistically.

How would an artist be able to use the Daler-Rowney website as a tool for marketing and developing as a professional artist?

Our website is constantly evolving, and we have a gallery section and forum that we encourage artists to post on. Beyond the exposure, it is obviously also a good place to learn about our products and what we offer across the different ranges as tools for creativity. We also have Facebook and Twitter pages to keep artists up to date with our latest product developments, competitions, and events, which can also serve as platforms for future recognition.

Daler-Rowney

How have changes in marketing affected the art world? Do you think that it has become easier for artists to promote themselves over recent years due to the internet and social media?

The internet and social media are perfect channels for artists to share their work and network, but many of their challenges remain the same – balancing their time across creation and promotion, standing out against other artists, letting loose originality when mainstream is what is selling the most, etc. Creativity in communication is almost as vital as on the canvas itself today!

Are there any other types of marketing that you think would best suit artists?

Live events and “battles” are obviously trending in parallel fields. Something is definitely going to pop up in a very big way in our field at some point in the near future. The only question is where!

Daler-Rowney

Daler-Rowney Papers

Do you think you will ever go back to selling perfume and wig powder?

Every colour manufactured by Daler-Rowney has a specific fragrance to it. It might not be considered as perfume by all, but we know that many artists link it with the creative experience in an almost Pavlovian way. Believe it or not, we actually work on the fragrance of all of our colours in one way or another! As for placing colour in wigs, it is probably one of the lesser extravagances we have witnessed over the ages! Art makes the world brighter, and we have a world of artists to thank for making it more colourful in many a place – the sky is the limit!

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by Richard

New work from Paul Wright

June 14, 2012 in Inspiration

We’ve been presenting Paul Wright‘s artwork since we launched Curator early last year. He’s been very supportive of us from the start – which is very kind, considering he’s a truly outstanding painter and an inspirational creative. We’ve even had the privilege of joining Paul in his studio on quite a few occasions, and taking the time to document some of his thoughts and working process in this short video too.

I’m sure you can tell that we’re pretty big fans. So we always get a little extra excited when Paul sends us an update and some images of his new work.

Today we’re presenting four new pieces from Paul, which are all available to view right here on Curator HQ…

A Double Life

I have always wanted to paint flowers but never knew how

Night Nude

Self Portrait as a Younger Painter

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by Richard

Olympic Art?

June 13, 2012 in Inspiration

Aside from the 2012 identity, what Olympic year / city most gets your creative juices going?

Mexico 1968

Personally, I love the identities and artwork associated with the (ill fated) 1972 Munich Olympics, and perhaps more-so the 1968 Mexico Olympics – just purely because the logo is such a wonderful design from Lance Wyman.

What are your favourites? Do you think that the Olympics or sport as a whole has any influencing role on creativity and the arts? Or should they remain forever totally separate?

Here are a few bits that I really love…

Mexico 1968

Munich 1972

Olympic Poster

Olympic Poster

Olympic Poster

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by Josh

Lamps that unite tradition and wit! We talk to Zoe Darlington

March 1, 2012 in Featured, Inspiration

Zoë Darlington has an eye for a great lamp. It takes a special character to create such witty, yet truly beautiful pieces of functional, contemporary furniture – and Zoë has nailed it. It’s been a pleasure to talk to her about her work and early career, including some very insightful advice for creatives that are thinking of starting out on their own journey.

Zoe Darlington Designs

We talk to Zoë Darlington

Lamps seem like a relatively unlikely subject for such a high level of artistic exploration, can you tell us a little about why you’ve come to focus on them?

I’m focusing on lamps precisely because they’re an unlikely object! I love that! I think it’s one of the things that makes the lamps so exciting and fresh. And I believe we should use beautiful objects in our everyday lives, they make every day better.

They certainly do!

Can you tell us a bit about your career beginnings? Where did you study for your BA (Hons) in Fine Art? How important do you feel your degree was toward securing your first position within the fashion industry, and how much relevance does it have to your work today?

I studied in Leeds, which is such a vibrant city and it was a great course to be on. The course taught me an open, creative way of thinking which is just as important in my work today, as it has been throughout my previous work. I’d probably say it was invaluable. My few years in fashion filled in the gaps between artistic creativity and commercial awareness which is vital when starting a business. It also gave me a huge awareness of fabrics – I picked prints and researched fabric qualities for the high street for years.

Zoe Darlington Designs

What attracts you to the process and craft of actually making an object, rather than just conceptualising or designing something?

I love being involved in the full circle of the creative process. You retain ultimate control every step of the way and it’s just an unbeatable feeling to be entirely responsible for creating something from concept to materials, to prototypes, to production. And I am completely uncompromising on quality. Being involved in the craft of making the object as well as designing it means I can uphold the level of workmanship that I consider to be integral to the product.

Zoe Darlington Designs

Can you run us through the typical process involved in creating one of your lamps?

It always begins with the fabrics. They’re a bit of an obsession of mine. When I see something new that I’m excited by, I can’t really rest until I’ve started making something – I’ve been known to transport fabrics back from half way across the world!

When I have my fabrics, the design process continues with shape and trims, often inspired by something unrelated – be it a film or a fashion silhouette or the angles of a chair or jacket. I go on to put my pattern making skills to good use, creating bespoke patterns for each shade before cutting and machine stitching panels for strength. The skin is then hand stitched to the frame before the same process of stretching and stitching is applied to the trims.

There’s an awful lot of hand stitching involved with my lamps and they are very time consuming, but it’s precisely this level of workmanship and attention to detail that really sets my products apart. I feel these lamps have their own history and identity and they deserve the best. I’m trying to create products that are cherished and are bought to be enjoyed and then passed down through generations.

Do you have a favourite product in your current range?

I love Logan. The finest quality heavy British wool, a traditional shape with my witty take on colour, an unexpected weight of fabric and trim… Actually it’s just been snapped up by a London Boutique as a complete lamp with a glossy charcoal base. It looks great with the store’s other products.

Zoe Darlington Designs

What other designers inspire your work?

I love Paul Smith – the man’s a legend! His take on British traditionalism, always with a witty twist is fantastic. I also really admire Melanie Porter for her fine craftsmanship in applying an old craft to upholstery with a clever spin.

Having a background in Fine Art, do you feel that any artists (rather than designers) have influence on your work, or does any particular piece inspire you?

I’ve been interested in Fine Art for as long as I can remember. As an art form it’s always fed into my thinking. I take quite a lot from colour and I love Hockney’s work. (I also love the fact he’s continued to embrace changes and I can’t wait to see the exhibition at the RA – I’m finally going next week!). David Shrigley’s spirit is an inspiration too.

Zoe Darlington Designs

Who’s been buying your products? Who’s been stocking them?

I initially made lamps for myself as I couldn’t find products that embodied the spirit of witty traditionalism and were made really beautifully, with integrity.

Others saw the work and loved them, so I made a few for close friends. Then, friends of friends started requesting commissions and that kept me busy for a couple of years! I only launched my website in November and I’ve since been selling directly to people who love their homes and interior designers who want to commission a really special piece to set off a room.

Zoe Darlington Designs

I’ve just confirmed two London boutiques to become stockists, where stock will arrive this spring.

Where to from here? Will you ever diversify into other household objects, or use different materials for your lamps?

I’ve actually already been designing some cushions to sit with the lamps. I’d been asked so often that I could see the demand was there and it’s really fun creating a little capsule homewares collection. The principle is the same as with the lamps – traditional objects made with a witty eye and beautiful workmanship.

Zoe Darlington Designs

For those people who are either just graduating or just starting out on their own with an idea in mind, do you have any words of advice to building a successful creative business?

Start small – you’d be amazed at how much more productive you can be creatively when you don’t have a huge number of overheads hanging over you and distracting you. Stay inspired, feed yourself with ideas, wait for no one to do something for you, and predictably, don’t give up!

It’s easy to think that when you have a rejection things aren’t going right. Actually, it’s more likely to be that the two of you are just not a good fit together. You can’t – and shouldn’t want to fit with everyone.

Finally, kill your darlings. If you start to obsess about “fixing” something because the idea was great, get rid of it. It shouldn’t be that difficult. Trust your instincts.

Zoe Darlington Designs

Our biggest possible thanks go out to Zoë for her generosity in giving us the time to give us such insightful answers. You can see more of Zoë’s work and find out more about her, on her website, her Facebook Page, her Linkedin Profile, her Tumblr blog, and on Twitter.

Caught By The Light. New work for sale by Paul Wright

January 8, 2012 in Curator, Inspiration

In case you didn’t notice, we are pretty big Paul Wright fans. And being fans of his work, it made us very happy to add four new pieces by Paul to the current collection that is available to buy direct from Curator.

Newly available are…

Ed Chapman Mosaic marks David Bowie’s 65th Birthday

January 8, 2012 in Current Events, Inspiration

You may remember that last month we featured some striking work from renowned mosaic artist, Ed Chapman, including his portrait of Maggie Thatcher, and an assembly of sugar cubes forming a portrait of Sir Alan Sugar.

Ed Chapman David Bowie

Yesterday, The Telegraph featured Ed Chapman’s latest piece – a mosaic portrait of David Bowie, marking the musician’s 65th birthday celebration.

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by Richard

From 1500 to today, we explore the art of Pencil Making with Derwent

January 7, 2012 in For Artists, Inspiration

At Curator we talk a lot about painting particularly – sometimes even at the neglect of the trusty and much loved pencil – a medium that every one of us will have used many many times in our lives, and amongst the first mark-making tools that we were exposed to as young children.

We talked to Kirsty Vickers at Derwent Pencils about the history of pencil making, what makes Derwent still such a cool brand after 180 years, and where they’re going next. Did I mention they also own the largest colour pencil in the world? Here goes…

Dipping

Above: The Dipping process at Derwent.

Could you give us a brief outline of the history and background of Derwent?

Pencil making was invented in Keswick in the mid-1500’s, in the reign of Queen Elizabeth I, following the chance discovery of graphite above the hamlet of Seathwaite in the Borrowdale Valley some years earlier. Legend has it, that on a stormy night the roots of a tree upturned and black lumps of material were found by shepherds. They at first thought it was coal but when it wouldn’t burn they marked their sheep with it. Graphite became very valuable as it was used in medicine and most importantly as moulds for cannon balls. During the reign of Elizabeth 1 the Borrowable mine was put under armed guard to protect the supply of graphite. It was worth (in today’s money) £1500 per kilo. After many years of turmoil, black market trading and plundering of the mine operations ceased in 1890.

In 1795, Nicholas Conte discovered how to mix graphite powder with clay, fire it in a furnace, and produce an equivalent to the Borrowdale material . Pencil makers quickly adopted this method meaning there was less need for the Borrowdale graphite.

Early pencil manufacture took place in the homes of local people , they grooved pieces of wood out by hand. The graphite lumps were sawn into strips and inserted into the wood, then glued together.

When and who was Derwent established by?

The business was established in 1832 by Hogath and Hayes. They became insolvent in 1912 and was bought by Charles Greenwood the local ironmonger. It was renamed the Cumberland Pencil Company in 1916. Today Derwent are owned by Acco, an American company who specialise in office products such as shredders, laminators, white boards, staplers, plastic pockets etc.

Cumberland Pencil Company 1920

Above: The Cumberland Pencil Company, 1920

Is there a particular reason why Derwent is based in Cumbria?

Because graphite was found in the Borrowdale Valley. We manufacture all of our products here and run our business of 90 employees.

Are there rare natural materials there that are perfect for manufacturing pencils?

Borrowdale Graphite was unique in the world, as it was found in large solid lumps. Elsewhere it existed in shale form only.

Could you describe to us the process of how pencils are made?

To make graphite pencils, Sri Lankan graphite is mixed with clay, fired, soaked in wax to make it write then extruded into strips. California Incense Cedar wood (chosen because of its ability to sharpen well) is purchased in slat form. These slats are then shaped with nine or eight grooves, glue is placed into the grooves and the strips are placed into the wood. A pencil sandwich is formed as a second slat is placed on top. The sandwich is then shaped and either eight or nine pencils are shaped from the sandwich in either a hexagonal or round barrel. The process is the same for colour pencils except the mixing stage we combine high quality pigments with china clay, gum and wax. Coloured pencils are not fired but gently dried.

Derwent Pencils manufacturing process

Above: The manufacturing process at Derwent

Is there a certain art and skill to manufacturing them?

It is a highly skilled process, we make 20 degrees and over 500 different coloured types of pencil. Each colour needs to match perfectly to that what was produced 60 years ago. About 30 people are involved in the manufacture and a further 20 to pack the pencils.

How much has this process changed since Derwent was first established?

The process is more automated now but the principles are the same. Many local craftsmen are still involved and we pride ourselves on the quality and length of service our employees have achieved.

How long does it take to make one pencil?

It could be as fast as two days if we really needed a pencil, but on average it take four days. They are individually checked for quality – we subscribe to the ISO9001 Quality System. We have a quality department on site dedicated to ensuring only the highest quality pencils are released for sale.

Why does it take so many people to pack a tin of pencils?

We have four sizes of tin, 12, 24, 36, 72. It takes 4 people to pack a12 tin, 6 people to pack a 24 tin, 8 people for a 36 tin and 12 for a 72 tin. For a 12 tin, one person takes the tin bases out of the boxes and places them on the track. The next two people pack six pencils each in colour sequence. The final person places the leaflet in the tin and the lid on the tin after it has been shrink-wrapped.

Packing at Derwent Pencils

Above: Packing pencils at Derwent

How has Derwent evolved since 1832? What makes Derwent so unique to other brands in the art materials world?

Although we are extremely proud of our heritage and traditions, we are a forward thinking company and highly innovative, bringing to market some exciting new products like the Inktense pencils and block, ink in a pencil! We also concentrate on only making pencils, blocks and sticks so we are highly specialised and greatly skilled in this area. We haven’t spread ourselves too thinly!

Derwent Inktense

Above: Derwent Inktense

How has your product range developed? Do you now see yourselves as being more than just a pencil manufacturer?

We have developed new and exciting products. Tinted Charcoal pencil, charcoal with a hint of colour. Graphitint which are water-soluble graphite pencils with a hint of colour – they truly transform before your eyes and of course Inktense the ink like pencil. Next year will see the introduction of our exciting new Artbar – a triangular shaped water-soluble wax bar, perfect for distinctive mark making.

How is Derwent a forward thinking and environmentally friendly band? Have you made any changes to your manufacturing process or your range to help the environment?

We moved to new premises in March 2008, Her Majesty The Queen, accompanied by His Royal Highness The Duke of Edinburgh, officially opened the new factory on 5th June 2008. This new factory has many environmental features! We operate to ISO14001 environmental standard. Sawdust is collected and used as fuel for our heating system to save gas. We collect rainwater from the roof to flush the toilets. Lights are controlled by daylight and movement sensors to save electricity. We have double rooflight area to maximise daylight and save electricity. And we hold the Queen’s award for sustainable development for a unique, solvent-free painting system.

Our UV or ultra violet light process is a way of painting pencil barrels without using harmful cellulose paints. A light wave cleanly and automatically coats the pencil with clear laqueur. We also use water based paints to paint the barrels of the pencils. We try to minimise packaging wherever possible and use recycled board if applicable.

People are more environmentally aware these days and we are based in one of the most beautiful parts of the country. So we are also aware of these concerns and doing our best to use sustainable products in our manufacture. Our aim is to reduce, reuse, recycle, recover, return and review. Derwent pencils are made from Incense Cedar from certified sustainable sources. The Sustainable Forestry Initiative® (SFI®) label is a sign you are buying wood and paper products from well-managed forests, backed by a rigorous, third-party certification audit.

Derwent Pencil Cores

Above: Derwent Pencil Cores

Where does Derwent see itself in the next 5-10 years? Do you have plans for a new range or a new type of pencil? How do you plan to stay on top of being one of the best art materials brands in the world?

We plan to continue to be the best at what we do and to innovative and continue to be forward thinking and to change with the times. We are already working on our introductions for 2013 and we plan to continue to have new and exciting products ready for launch every year after as well.

How important does Derwent believe drawing and sketching is?

We know that 8% of the population in the UK regularly draw and that 16% of the population like drawing or would like to take it up at some point in the future. So we believe it is important to well being of the nation! “Keep calm and draw things” is our motto.

Why do you think drawing rather than painting for example, is the first medium that young children use? Do you think that it is important for children to be creative in their development years?

I personally believe that pencils are more portable and less messy than paints, so parents love to encourage children in their creativity but with the minimum amount of mess. I know as a mother of two children myself how much pleasure children get from drawing with pencils and I have the satisfaction of no messy finger prints on the walls and no spillage and the threat of paints ruining my lovely furniture! But our pencils that turn into paint by the addition of water from a water brush are fantastic and open an endless world of opportunities.

Why do you think that art students are unfortunately encouraged to move away from pencil work? Do you think that drawing is just as important as painting?

I think students are encouraged to try all different types of media, but I believe that drawing is the foundation of all art.

Derwent Pastel Pencils

Above: Derwent Pastel Pencils

Are there any particular artists that you love who use drawing as their main medium?

There are a lot of fantastic pencil artists around but at the moment we particularly like Diego Fazio, Caroline Bletsis and Janie Pirie; their work is exceptional.

How did you pick the artists that you represent on your website? Why did you chose them?

We don’t choose our artists, they quite often come to us. We are the number one brand in the UK and are widely know. Our Facebook page, Twitter and blog forums are widely followed and people actively want to share their work. Quite often people send their work into us and we ask them if we could display it on our web page. Recently we needed a new demonstrator for the ICHF show in Birmingham in November. So we ran a competition for people to enter showing us a video of themselves demoing our product. All the aspiring demonstrators had to do was submit a 5 minute video, via YouTube, showcasing some fast and simple drawing techniques using one of their favourite Derwent pencil ranges. We had a good response with some very high quality entries and we were able to choose a winner, Beverley Haines.

What advice can you give to someone who says they can’t draw? Do you believe that someone has to be skilled at drawing to be able to produce good art?

We firmly believe there isn’t anyone who can’t draw. All everyone needs is a little bit of encouragement, the right tools and some friendly advice. We actively try and encourage people to experiment and provide all sorts of hints and tips available for free on our website. From leaflets to projects, from online videos to full DVD’s. In addition the museum run workshops and free demonstrations throughout the year. We are available to give plenty of advice. Drawing is a skill, but you don’t have to be a great drawer to produce fantastic art. I do not draw well, but I can produce some great images with help and encouragement.

Derwent Pencil Museum

Above: Derwent Pencil Museum

Could you tell us a little bit more about the Pencil Museum? What kind of things do you have on display there? Why would you recommend someone to go visit?

The Pencil Museum is world famous and celebrated it’s 30th birthday this year. We often feature in the national newspapers, television and national radio. Our Manager Alex Farthing talked to Chris Evans about the world’s longest shaving competition, we have also appeared on the Antiques Road show, The One Show and most recently was used in a film set for ‘Sightseers’, a film to be released next year by Big Talk Productions.

We have 80,000 visitors a year coming to the museum. The highlights are the largest colour pencil in the world measuring in at 7.91Metres long, (25ft 11 and a half inches), It took 18 people 4 weeks to make it and 28 people to carry it into position!

The War pencil, in world war two, the managers were brought in to the factory at night to make secret war time pencils. The pencil looked like a normal eraser tipped pencil, but inside it held a secret, a map of Germany and a compass. There were four pencils in the series each holding a different area map of Germany.

There are also many free demonstration events held throughout the year and lots of family fun activities. A quiz trail for the children plus lots of crafty things to make and do. Then of course there is Sketchers cafe with it’s homemade soup and delicious cakes!

Does Derwent hold any exhibitions or events? What would a visitor be likely to see at one? Could you describe the last exhibition you had any what kind of artists had the work displayed at it? Was it a particular style or theme?

Derwent attend exhibitions throughout the year at various venues across the UK and also at a trade exhibition in Frankfurt. At the UK events we have various areas where we demonstrate products for customers alongside a professional artist who and is able to help customers with questions and demonstrate for them. Customers have the opportunity to sit and have a go with any of our products themselves. We are usually promoting a new range so this year we concentrated on our Inktense Blocks range, we display artwork that has been created using this range so people can see what can be achieved with the product. We attended Patchings in Nottingham, Art in Action in Oxford, SAA show in London and also the Art Materials Live show at Birmingham Nec.

Do you have any exhibitions or events coming up that you would like to tell us about?

We have the same listing of events as we do each year so we will be attending Patchings, Art in Action and Art Materials Live show again in 2012 (the SAA show is not taking place due to the Olympics), but 2012 is also a special anniversary for us as the company will be 180 years. We have events planned in our Museum during the May bank holiday to celebrate this alongside the Queen’s Jubilee and we will be holding a birthday party for our distributors and customers on our stand at the trade show in Frankfurt in January.

We would like to say special thanks to Kirsty Vickers at Derwent for her support and time on this interview. You can find out more about Derwent via their Website, Blog, Twitter, and Facebook.

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by Richard

VIP Art Fair 2.0 – February 3rd – 8th, 2012

December 29, 2011 in Inspiration

We of all people will give the VIP Art Fair credit where it’s due for originality of concept and challenging the dusty norms of the UK art establishment, because what they’re doing is so close to our own hearts and the work we do every day. They are shaking things up and putting forward a new way to interact with the quite traditional concept of the art fair – and doing a pretty good job of it too.

VIP Art Fair - Buy Contemporary Art Online

VIP Art Fair exists only online – connecting leading global art dealers with savvy customers without having to leave your home, offering work from highly respected contemporary artists like Jackson Pollock, Louise Bourgeois, Francis Bacon and Damien Hirst.

This is what they say…

“VIP Art Fair stands apart as the innovative platform for sophisticated art collectors and enthusiasts to connect with leading international contemporary art galleries.

It translates the experience of a traditional bricks-and-mortar fair to an online environment, and provides tools that enable the collector to initiate, develop, and maintain relationships with dealers.

VIP Art Fair is a filter to the most prominent contemporary art galleries in the world.”

This is what the Wall Street Journal said…

“As more and more powerful art buyers emerge from Asia, Russia and the Middle East, the need to quickly reach collectors around the globe has never been greater. And dealers are looking for ways to reach a younger generation that’s beginning to explore the art market—without alienating their best clients. Now, some of the biggest names in the worlds of art and technology are betting that collectors will spend millions on paintings and sculptures that they’ve only seen online. A who’s who of top galleries is taking part in the VIP Art Fair.”

You can find out more about the VIP Art Fair on their site over at vipartfair.com, or by following them on Twitter and Facebook.

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by Richard

The Art and Science of Interiors – Words of wisdom from Heterarchy

December 20, 2011 in Inspiration, Interiors

We’ve been talking for quite a while now about the relationship between great art and interior design, so we’ve been talking to some top interior designers and agencies about their businesses. Let us know if you pick up some tips!

Tony Matters, Managing Director at Heterarchy was kind enough to talk to us about the art and science of interior design…

Tony Matters, Heterarchy Interior Design

Above: Tony Matters, Managing Director at Heterarchy

Could you give us a brief outline of the background of your business and what services you offer?

Our core business is hospitality interiors (bars, restaurants, hotels and conference venues) as well as religious and high end residential projects.

Heterarchy was founded in 2001 by the interior designer Rosemarie Fitton. We’re based in Leicester – we work from a converted 20′s knitwear factory – it’s open plan, lots of character. It says a lot about who we are, although it’s evolved over the years rather than being ‘designed’.

We’re a team of five – Rosemarie Fitton, Creative Director – Tony Matters, Managing Director – 2 designers and a studio assistant.

How would you describe the kind of work you do? Do you have a particular style?

I would say we always aim to create interiors that inspire people; this is not marketing jargon, we actually want people to walk into a space we’ve designed and respond emotionally. We don’t have a set style, but we do have a set process; over the years we’ve learnt how best to approach a project so that we can get under the skin of our clients needs and wants. It must be working, as we have lots of happy clients who keep on coming back to us.

Temple Foyer

Above: Temple Foyer

Could you describe more about the sectors you work with?

Hospitality is a key sector for us, it seems to be a good fit for our skills and approach. I would say we’re in the business of creating spaces that are engaging, inspiring and lift people emotionally; being able to do this well takes a particular skill; it’s as much about knowing what to leave out as what to put in, it’s that intangible thing when you know something is right but you’re not sure why. Being able to do this seems to really suit hospitality interiors.

Religious spaces are something our Creative Director Rosemarie has a keen interest and ever expanding knowledge in. Having designed all of the spiritual spaces for the second largest Hindu Temple in the UK, for BAPS Shri Swaminarayn, we’ve been privileged to get the opportunity to learn a tremendous amount about their faith and beliefs. Interpreting the symbols and values into a contemporary interior scheme, the end result is pretty much unique. Rosemarie is now actively pursuing this area of work, to both expand her own expertise and eventually make a significant contribution to the design of new types of religious and spiritual space.

Residential projects are where we cut our teeth. For the first seven years of Heterarchy, we provided a complete design and build service for high end residential projects. As we became more and more successful within this area, it was a natural progression to start to get involved in other types of work. We do still work on residential schemes, although not as much as we used to; and these days they tend to be pretty exclusive projects.

Rosmarie Fitton, Creative Director at Heterarchy

Above: Rosmarie Fitton, Creative Director at Heterarchy

What part of the design is most important when making an individual statement on a project?

Conveying the individuality of a brand through interior and architectural design is possibly the single most important thing we do. To do this, it’s essential to develop deep understanding of the brand; what are it’s core values, who are it’s customers, what do they want and need. It’s about looking for what makes this brand unique and imprinting this into the design; we strongly believe that every single business or venue has something special that can set them apart from their competitors. Sometimes it’s obvious, other times we have to do some digging, but ultimately this is the thing that makes the real difference, the thing that leads to our preferred response ‘this just looks and feels right’.

Communicating the individuality of a faith is not too different. It’s about learning and developing understanding. It’s about going back to the first principles of a particular faith and understanding where it all came from. This is always a huge undertaking but it cannot be avoided, particularly if we want to create something new and relevant for contemporary society. A lot of religious architecture is almost ‘pattern book’ – you use this pattern here, that one there and so on. What we would prefer, however, is to understand why these symbols where used in the first place; this enables us to create something new that still adheres to these guiding principles. One of the biggest challenges in this field is the design of multi-faith spaces – these are essentially spaces for prayer and meditation that are not specific to any one denomination. In practice, this is very hard, as their are lots of preconceived attitudes and conflicting requirements; in spite of this, we strongly believe it is possible to make this work, again by getting back to first principles and creating an over-riding sense of spirituality.

Creating a space that is personal and individual to someone’s lifestyle is again about taking the time to develop real understanding. In some ways this can be the hardest of all; people often use logic to justify what they want, but in fact it’s always their emotions that drive the decision. Add to that the fact that often you’re dealing with a couple and it gets even harder. Sometimes I think that to design peoples homes you are half designer and half marriage guidance counselor!

Ashorne Hill

Above: Ashorne Hill

What is your dream project?

I’m not sure I have a dream project but I probably have a dream client; someone who is passionate about their business and wants to embark on a journey to create something special. It’s also worth noting that this is not about having huge budgets to play around with; this just makes you lazy. Some of the best experiences we’ve had is working within tight cost constraints, yet pushing ourselves to create something amazing. On a more basic level, I would like to travel more with our work. We’re currently working across the UK but relish the opportunity to work further afield, which I’m sure at some point will happen.

Do you plan to carry on focusing on working with clients within hospitality, religion, and residential? Or there other types of businesses and organisations you are aiming to work with?

My focus within the business is hospitality interiors. This is where my passion lies and is something I’ve started to develop genuine expertise in, which is really important; we would hate to be seen as a ‘jack of all trades’. Having a deep expertise within a narrower field is, in my view, the key to success. Rosemarie is doing this with religious, spiritual and multi-faith spaces. In fact, Rosemarie is building a level of expertise within this area that is unrivaled within the UK, maybe even the world! As for residential projects, more often than not these days we get appointed because someone has seen our work within a other field but appreciated our skill and approach; we tend to be quite selective about this type of work now, as it’s easy to be a busy fool!

Are there any Designers, Architects or Artists you would love to collaborate with?

I’d like to collaborate more with artists who share a similar world view. I’m not pretentious, I always try and speak in plain english; but this doesn’t mean I’m not passionate about creativity, about capturing the essence of an idea and communicating with people on a deeper, more intuitive level. I suppose that’s the ‘art’ in what we do, which, for me, is the critical element of success. To work closely with an artist who understands where I’m coming from would be simply amazing.

Heterarchy Studio

Above: Heterarchy’s Studio

How do you plan to push boundaries in the world of Interior and Architectural design in the future?

For me, great design is in the first instance about building great teams. Our work has to deliver on many levels – commercially, creatively, emotionally and technically. Getting the balance right is all about getting the right mix of individuals, within both the client and design team. This is the essence of a ‘heterarchy’. Going forwards I look forward to working with great individuals and producing truly outstanding spaces.

What are you plans and aims for the next year, 5 years?

We’re going to keep doing what we’re doing, keep pushing ourselves to deliver outstanding projects for our clients. As has happened over the past few years, so long as we stay true to our values and never stop learning I think our success will continue. In 2009 we set ourselves the goal to be the leading designer of hospitality interiors with the Midlands; I think we’re nearly there. Next, the UK. Then the world!

Do you think that following trends is important in Interior and Architectural Design?

I think a balanced approach is key. We tend to put the fashion into things that can be easily updated whilst ensuring the underlying scheme will stand the test of time.

Where do you feel that you fit into current trends? Are you part of a wider trend?

I’m not sure that we do. It’s entirely possible to create an interior that fulfills our clients commercial needs, elicits a positive emotional response from those that use the space and is in some way a unique and individual response to a particular place, without being ‘on-trend’ or fashionable. Our work varies in style as it’s always a response to a specific client and situation; this is the way it should always be.

Do you consider Interior Design as an art form in itself?

There has to be an element of art in it, however we also need to balance that with commercial and practical considerations. The ‘art’ part is vital, however, as that is how we communicate with people on a more intuitive and basic level.

Apartment Wall Art

Above: Apartment wall art

How can a single piece of art change the mood of a room?

It’s entirely possible to build an interior around a single piece of art. If it adds to the story, or even creates the story, then it can be a powerful emotional trigger within a space.

Do you incorporate artwork in any of your existing designs?

We often incorporate art within an interior, quite often it’s a pivotal part of a scheme.

Do you think that displaying artwork in a business setting is important for making a statement about a brand?

I think it needs to connect with the story of that brand. Art for arts sake is good for no-one, but when art can be used to add an emotional layer to a space it works really well.

Religion has played a huge part in art and design through the centuries and is associated with very historic structures and artistic techniques, how are you bringing this into the modern world?

We’ve had to go back to basics, to understand the primary drivers for both religious art and religious symbolism. Peoples need for a spiritual or religious dimension in their lives has never changed, but the way we see the world most certainly has. Making a visual or symbolic reference does not have to be particularly obvious or literal – in fact, by placing it within a more contemporary conceptual framework, it’s possible to capture the underlying essence of why we would need this in the first place. With Hinduism, for example, the underlying symbolism is all about expressing the power of nature; cycles of life, birth, growth and renewal. Historically, this is communicated using devices such as stems, leaves and flowers in different stages of growth. Once you understand this, it’s fairly easy to se how you can create a new language that still communicates these core principles.

Have you ever designed a project around an existing piece of art? How did you go about doing this?

We designed the foyer for the new BAPS Shri Swaminarayan temple around an important relief sculpture that is located at the Akshardam temple in India. Although this is quite small in size, we used this as the source image for a fifteen metre long glass wall in the foyer. The image is a historical reference, the scale and material used is entirely contemporary.

What steps did you take to break into the industries of Interior and Architectural design?

Our route into design was evolutionary – starting out with small commissions, by always striving for excellence our work got attention. Looking back it’s amazing how far we’ve come, our business is almost unrecognisable now from what is was when we first started.

What path would you recommend to someone considering it as a career now?

A good degree in interior architecture, ideally one where you can do a years placement in industry. If not, try and get as much work experience along the way as possible.

Has it become easier or harder in this field?

It’s getting easier for us as we become more recognised within our field. Building up contacts takes time, there’s no shortcut to developing lasting relationships with key clients.

Have client’s expectations changed?

People are more aware of ‘interior design’ – at least they think they are! The popular media has not really helped, quite often reinforcing negative stereotypes of what interior design is. Good clients, ultimately, understand the value of good design. Quite often through a bad experience of some kind they soon come to realise that good interior design is about so much more than using the latest fabrics and wallpapers.

You can find out more about Heterarchy over on their site at www.heterarchy.co.uk.

Gerry Dudgeon – Festive Tree, a beautiful new painting in honour of the festive season!

December 19, 2011 in Inspiration

Gerry Dudgeon has been working on a beautiful new seasonal painting, entitled “Festive Tree”.

This piece is acrylic on canvas (43.5 x 43.5cm) and the composition is symmetrical, employing an isosceles triangle touching the edges of a square. The tone of the Christmas tree shifts from dark at the base to light at the apex, while the background is the tonal reverse of this (i.e. light at the base blended to dark at the top. In terms of colour the tree is predominantly cool and the background is predominantly warm.

Gerry said…

“Rather than make specific references to tree decorations (baubles, tinsel, lights and other tree decorations) I wanted to use the small fragments of colour which I like to use in my Moroccan paintings, to suggest movement and festivity. There is a sort of party atmosphere perhaps, because the fragments almost appear to be dancing or flying off the tree, as if engaged in frenetic motion.”

For a limited time we are offering this original painted work by Gerry for the price of £595.00, but you’ll have to call us urgently on 0845 680 61 69 to arrange delivery pre-Christmas.

Gerry Dudgeon Festive Tree