paintbrush challenge
made her brush for the purposes of the photographs. I tell her that it wouldn’t be proper: I want to persevere. This time, Rosemary stands behind
me, as she would when she trains up her staff and we try again. “Now! Goblet in left hand, hair in right, pinch it tight, you are going to whizz that round the opening of the ferrule…” More failed attempts follow. I hold it
closer to the tips to get as much control as possible. I begin to sweat – she makes it look so easy. I’m told repeatedly to not be gung-ho but by now my fi ngers feel like bunches of bananas. Once the hair is in, the ferrule either
stays round or gets squashed with a small press to make a fl at or fan brush. This is fairly straightforward but you must be careful, quick and fi rm. Rosemary thinks I might have more
luck making a kolinsky mop. Mop brushes involve putting the hair into a
3. Tie the hair in a hitch knot: twice around three fi ngers and then under and between twice
TOP OF THE MOPS
Brush expert Rosemary Thompson shows how to make the head of a kolinsky mop
1. Take a pinch of the kolinsky hair and tease it until the strongest hair is in the centre
rounded goblet and bashing it on the marble – more deafening noise. You can see the centre drop down and an inverted version of the fi nished brush when you look into the goblet. Once it looks symmetrical within
the rounded goblet, she brings out some string and demonstrates how to make a hitch knot. It’s thin like dental fl oss, but I’m happier having a method that I can follow carefully. As long as I follow the route of the string, everything will be all right. I’m left with a loose circle, ready to
2. Place the hair in a rounded goblet and tap it forcefully against the marble so that the centre drops down
become a knot when I pull the two ends of the string. I rest it down on the marble, put the goblet in the centre and then bring it up slowly until the string is level with the top of the goblet. I start to pull, steady at fi rst and then tighter. The hair is now in place and ready to be attached to the handles. This all seemed much easier – I’m beginning to think I could defi nitely get the hang of this. The brushes are glued from behind
4. Bring the hair up out of the goblet until the string is level with the top. Pull steady at fi rst, then fi rm to tighten
the back of the ferrule. This is the last part of the process and takes up to 48 hours to dry. “It’s so important to pack the hair in as tight as possible because otherwise the glue will shoot straight past the collar of the ferrule or if there’s not enough glue then it will moult.” Ultimately, all of Rosemary’s brushes
are ‘wet’ tested to make sure they are balanced and don’t moult. After being dipped in clean water and fl icked, a good brush should come to a natural point. “You shouldn’t have to put it in your mouth,” warns Rosemary. So, how did I do? Rosemary was
candid in her appraisal of me: “You’re not a natural brush maker.” In fact, she said she probably wouldn’t employ me under any circumstances: I have naturally hot hands and never got the hang of knitting or needlepoint – both good hobbies for a potential brush maker to have in her opinion. My patience leaves a lot to be desired, too. However, given that it takes
44 Artists & Illustrators
ROSEMARY THINKS I MIGHT HAVE MORE LUCK MAKING A KOLINSKY MOP BRUSH
Rosemary about 12 months to train someone up, I don’t feel too bad. I may have only made brushes that were neither for use nor ornament, but what I did come away with was a greater appreciation of how much skill it takes to produce neat brushes that are also capable of creating masterpieces. With thanks to Rosemary Thompson.
www.rosemaryandco.com
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