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Quality Materials
Materials & Supplies
Longevity, quality and enjoyment of artifacts are both important to my process, but also to how I would love my viewer to experience my world. Because of this, careful consideration was made in the artist materials and supplies in all my work that they might be preserved more easily in the hands that they land in or the walls that they may adorned. Moreover, I gain a deeper enjoyment of knowing the history and stories behind the products and brand I work with in my practice. It’s undeniable when we take a moment to consider how the history of pigments, paper and “writing” tools were there from early mankind in order to simply communicate and record; as a wielder of brushes, this is what we try to do. I primarily use handmade natural hair brushes that are ethically sourced, artists’ pigments wrapped in stories - some made from natural minerals - 100% Cotton acid-free papers and sometimes homemade inks.
WORKING WITH THE BEST| THOUGHTFULLY MADE | THOUGHTFULLY CHOSEN
Longevity, quality and enjoyment of artifacts are both important to my process, but also to how I would love my viewer to experience my world. Because of this, careful consideration was made in the artist materials and supplies in all my work that they might be preserved more easily in the hands that they land in or the walls that they may adorned. Moreover, I gain a deeper enjoyment of knowing the history and stories behind the products and brand I work with in my practice. It’s undeniable when we take a moment to consider how the history of pigments, paper and “writing” tools were there from early mankind in order to simply communicate and record; as a wielder of brushes, this is what we try to do. I primarily use handmade natural hair brushes that are ethically sourced, artists’ pigments wrapped in stories - some made from natural minerals - 100% Cotton acid-free papers and sometimes homemade inks.
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Rosemary & Co Brushes
I choose to work with ethically sourced Kolinsky Sable Brushes by Rosemary and Co in England. Not only does my heart warm with affection for my English childhood, but I know and can feel the quality and love in these soft and water thirsty brushes. They give a nod to the years of history and craft of brush manufacturing, but also to the grass root beginnings that I relate to. Rosemary has a fascinating story of crafting brushes and I can’t more highly recommend the life it brings to my process and to my work.
Lebenzon Paintbrushes
Tracy Lebenzon also knows the painstaking craft of brush making. Based in just south of me in Washington state, Lebenzon crafts his work with ethically sourced bamboos, hardwoods, natural and synthetic hairs. I choose to work with goat and synthetic blend of Lebenzon brushes, not only because of the lifetime quality and care of his work, but also because of the incredibly organically responsive and expressive design of his brushes.
Pigment
Rockwell Art Canada
Rockwell Art make fabulous mineral watercolours. Their pigments work in a way that begs you to add more water, leaving gorgeous granulation and watermarks that are not easily replicated by any other brand I come across. Check my social media for examples and videos of how I use Rockwell. Receive a 10% Discount with code LORRAINE01 at Rockwell Art.
Daniel Smith Artist Materials
Watercolours by Daniel Smith stole my heart with their incredible range of granulating and non-granulating hues, range of natural mineral pigments and their lightfastness. I primarily mix my pigments on paper, and so it is essential to me that the paints I use know how to dance well in water. In spite of their lightfastness, I do recommend that you always display any of my originals away from direct sunlight to best enjoy for lifetimes to come.
Paper
For archival longevity, preservation and process, I nearly always work with 100% cotton and absolutely always use archival and acid-free papers. The material and production of these papers are essential in allowing the pigment to flow and be absorbed. Moreover, the nature of cotton allows me to interact with the paper in a way where I can manipulate the pigment without damaging the surface, unlike wood pulp papers. I sometimes vary in different brands and finishes, but you can be confident that they’re fantastic papers to use and to keep. Papers I gravitate towards are Arches, Fabriano Artistico, and Saunders
Accessories
I use a ceramic palette similar to the Stephen Quiller Palette - ceramic palettes are much kinder to natural hair brushes, are easy to clean, and form nice puddles of paint on the occasion that I do choose to mix on palette. It’s circular structure allows me to arrange my favourite hues in a way that makes the liturgy of painting.
I care for my brushes by leaving them to dry horizontally and use a handmade ceramic brush rest made by Ellie Panda Pottery in Ontario, Canada,
