Horse Series

Frederic was glad to have been invited to decorate the rooms of the Barn hotel. You can find in each room of Barn hotel one of the drawings of the collection “Horse Series”

Horse series frederic forest limited prints

Set between the oaks, elms and silver birch, two large red-coloured barns emerge from the landscape. Tucked away in the Rambouillet forest, Le Barn lies in the heart of an estate covering more than 200 hectares where nature alone is master.

Wherever you look at Le Barn, there are horses. A veritable paradise for riders of all levels, you could almost believe that the Rambouillet Forest was created for riding.

Horse series frederic forest limited prints

Horse series frederic forest limited prints

Backing onto the Haras de la Cense stud, a major centre for the relationship between man and horse, Le Barn offers guests the opportunity to experience a personalized horse riding, as well as initiations to an approach of the animal on foot and on horseback, based on equestrian techniques and the knowledge on the horse’s nature revealed from the science of behavior: ethology.

Horse series frederic forest limited prints

These drawings are now available on our shop

Self Love Woman: the story behind iconic drawing of Frederic Forest

The famous drawing by the french artist and draughtsman Frederic Forest has toured the world and has become an icon for many women, but what is its true story? Frederic answered us in his workshop in Paris :

How was this drawing born?

I draw every day and I have long looked for a symbol to express an immediate vision, a direct image of what a woman should think of herself. For me, it must have been a calm pose, an attitude for oneself. I did a lot of body sketches, gestures, hand placements. It was an ongoing project, but nothing really suited me.

So many times, I put aside this project and I started again from time to time. Then, there was an event for a very close person and I spontaneously made this drawing. It came without thinking. The. Like that. I knew immediately that it was the design I wanted to do for a long time. He was there. I did not give him a title and I offered it.

It’s also one of your few drawings with color?

I draw or paint with colors time to time but this original drawing did not have one. I did not post it on Instagram or somewhere else. Something very personal. And then, David Souffan, a friend then Art Director of Lancôme International, asks me if I will be interested to collaborate with him on their campaign during the “Women’s Day” that we also call the “Day of Women’s Rights” in Europe. He liked my work and the delicacy of my line corresponded to what he wanted to show at Lancôme.

I had never done such a worldwide project with this magnitude. The subject pleased me and we started. David wanted a group of women, an expression of the feminine diversity, strength and life of many friends together. We did several tests and in one of them, I took this drawing, I placed it in the center. I did a test with a colored arm for the symbol to be more effective and relevant. It is both a central hero and a link with her partners who are more that just friends.
Then, David had the idea to vary this crew and the campaign has had different versions with the character alone, three and five women together. We were delighted with the result and the campaign was very successful around the world.

This drawing that had no title has had several … which one is right for you?

Her arms intersect and form a heart with her shoulders. Her posing speaks both of the attention you carry for yourself and the hands that escape from this movement open onto others and the world around us. I did not have a title for this drawing. I did not want it. For me, it simply says something essential for women.
The spread and viral aspect of social networks has indeed written and titled several. But the two which came back most often were “Women’s Day” and “Self Love”. Which meant that this drawing had become in less than a week an worlwide icon for many.

I received a lot of messages saying that it was a strong symbol and calm at the same time, without origin or religion, without age or form. Something universal. « Self Love Woman » seems to me the best title.

How did “Self Love Woman” come in with Grammatical?

This drawing has already had several lives between its research, its first intention, its evolution with the Women’s Day and its journey with the thousand tattoos inked in the world (Lucy Hale has also one on her arm)… It still sounds as a personal and intimate echo for the women in the world and it had to have a new life. I put quite a long time before I decided to propose it to Grammatical to launch limited prints, but I still continue to receive so many requests to order the drawing of « Self Love » that it seemed natural that it is available.

You have to know how to listen and respond to your audience. This is very important even if you need time to follow it. This is also a sharing way to thank them all for their support. So, this first edition of the limited edition of this « Self Love Woman » drawing is therefore presented in its original aspect, as I realized it the early first time, with a black line. It is important for me to return to its early life. By the way, another rather strange story about this drawing is that the Japanese brush I used to do it, I can not find it in the trade anymore. Maybe it does not exist anymore but maybe it meant that it was the right tool for this image and that I should not do it otherwise. But I already found other fabulous brushes and I did not stop drawing …

And after ?

I am now quite curious to discover the interiors in which the « Self Love Woman » will be hung …


The Self Love Women drawing is available on pre-order until the 31th of January !

Interview with Frederic Forest

Born and raised in Annecy, the “Pearl of French Alps”, Frédéric Forest discovered his first love before he could even write: drawing. 

This passion lead him to Paris to study product design and took him around Europe, working for a host of luxury brands, before settling back into Parisian life where he started with interior and product designer Clémentine Giaconia.their eponymous design studio: Forest & Giaconia,  

However, it is indeed ‘drawing’ that he is best known for with a cult like following stretches across the globe; almost 200k followers as @fredericforest on Instagram and over 3500 people tattooing his artwork on their bodies, the ultimate sign of fandom. 

For Grammatical-Paris – , he spent time doing what he loves the most : drawing in his Parisian studio. The resulting limited prints let us serve as further inspiration for those already converted and the perfect introduction to Forest’s specific style for new fans alike. 

As you can imagine, we feel really honored by this exclusive collaboration and Frédéric wished to share with you a little more about his history and future projects with Grammatical …

Photos by Nomades – Studio Graphique et Magazine Photographique Lifestyle and Grammatical

Frederic, tell us your story. How did you get get to where you are ? Can you tell us more about yourself? What is the story of Frédéric Forest so far?

I grew up in Annecy, French Alps. I’ve spent my time for skateboarding, skiing, snowboarding with family and friends, and drawing. Like everyone else, I started drawing before writing. I have not stopped there, I love that. It’s a viral emotion. 

But I always wanted to do and desired to do product design. Because it was not about drawing for myself but for a project, for something larger. So, I graduated from ENSCI/Les Ateliers in Paris. While still a student there, I worked alongside on projects for Cartier leathergoods. I left France for Italy and the Adidas Advanced Design Studio in Montebelluna, where I designed for the brand’s high-end sports shoes range. Then, for international luxury firms, I used my approach for brand image, visual identity and product design. In 2008, after various experiences working with designers Erwan and Ronan Bouroullec, Noé Duchaufour-Lawrance and Jean-Marie Massaud, I set up with Clémentine Giaconia our own design consultancy studio FRST (partner with houses and brands), and an eponymous studio Forest.Giaconia (furniture and interior design with editors, and private projects).

What about your drawings ?

As for my drawings, I’ve never looked for a professional life. Instagram has cut a new part in my life, and made my drawings evolved so far. I love to draw, and that for as long as I can remember. Just draw and think about something else. That was very personal and now the drawings are sent worldwide… Maybe, this is because they are personal at first. This is also why I don’t sell all of them. Presently, there are two people who work with me on both art commissions and shipping works. 

It went very far indeed…

I’m more than glad to have collaborated with such great people such as Rosa and Rich with their Cereal magazine, Nick Knight and his ShowStudio who asked me to follow the Paris Fashion Week, Nathan and his Kinfolk magazine that I still be a fan, Vogue, Harper’s Bazaar. There are also several good projects with great houses and brands such as Chanel, Hermes, Bang & Olufsen, Dita Eyewear… 

There was also this beautiful project with the art director David Souffan and Lancôme during their worldwide campaign of the Women’s Day. This drawing of “Self Love” has been a crazy audience. 

And now I collaborate with grammatical-paris.com on exclusive and limited prints.

You have many creative talents, such as draughtsman and running your own design studio. How did you come to love drawing and how did you cultivate your career in drawing while also operating a design studio?

Like everyone else, I started drawing before writing . I have not stopped there, I love that. Drawing is always part of design job, but aside that, during the evenings, I did it just for me according to my mood.

I have been interviewing creatives around the world for a while now. I am very aware of the term ‘inspiration’ from their point of view. It is mostly a result of random moments. But what about the influences?

Inspiration is a result of random moments running in my head and stealing everything I see. These moments could be everything, a smell, a sound, someone who you cross in the street, a cloth or its detail… My influences are around the edges, in photography, surf, fashion, skateboard, gastronomy, snowboard, music, travel, typography, ski, dance, poetry, colour and light. They enable me to express new feelings and suggest new stories, whatever the scale of the project.


I can’t remember where I read it, but you said in one of your interviews ‘A project is a dialogue’ which I hundred percent agree. Good idea can come along sort of different forms, but the execution and right brief are the keys. My question is what kind of projects would you like to work on in the future?

The list could be quite long. I would love to work on a hotel , villas, and there are projects that we can not stop to work on such as timepieces, boats

Having experience in many different fields (design, interior, art direction and illustration), what would you say has been your favorite role?

My favorite role is to not having a specific one. The most important thing is the relationship that you create with people, clients, customers, collaborators, audience, etc. This is where is the quality of projects.

How crazy is so many of your followers think you are a tattoo artist?

I’m stoked about that world, this tattoo audience. I’ve never expected that one day someone that I don’t would tattoo on of my drawings. Noway. Now, as far that I can count, there more than 3.500 around the world. For example, a man has inked on his body 4 drawings in one time, a woman did her first tattoo with one drawing that embracing all her back. But the most craziest thing is that more than 80% of them are their really first tattoo. Really crazy ! I think that is because I don’t draw faces. Not so much. I used to but I didn’t find the right lines. So, I guess that is the main point : Everyone can think about some in specific way because the drawings are focused on attitude, moment and gesture.

What do you think about social media in general? Obviously, it helps to artists/designers to get international recognition but on the other hand unexperienced really digital youth gets 

First of all, three years ago, I had an old smartphone and I used Instagram such as a cloud and for personal pictures only. Zero followers. Then, Clementine and I decided to close our websites and update them with new contents and art direction. It takes time. So, I started to post some images of our design work on my account, and some drawings, just like that, to show our work in progress, a kind of artwork, something aside that feed us, something that I do every time I can, something very personal at first… And it started to be out of control. No business plan at all.

Yes, its viral diffusion and its large feed. We live in this connected world. Everyday, you can find great things and ideas. It is something that can make you do better and evolve. I look at it such as someone else is looking at me. It’s a continual running dialogue. An open diary. In a way It’s like a mirror with two sides.

And no, because it is also a decoy, something that is definitely not real and about fast consuming. It mainly sells a false dream. This is the tricky thing with this connected world : we want it fast but with sustainability. Good things take time. It’s crazy how the manners have gone with smartphone attitude. Incivility has grown too much. Life is unscreenable. Most of my impacts come from reality, walking in the streets, chatting with friends, meeting people, going to museums or bookstores, reading magazines, taking pictures, drawing, traveling, skiing, skateboarding, surfing, running…

What is your design approach as a duo?

Clémentine Giaconia is an interior designer and product designer. We design duet. As woman with man, we cross our experiences and inspirations.Together we sign projects where the object and space form a whole, in a consistency of line and evidence materials. First we must surprise ourselves, otherwise others probably won’t be surprised by what we do. This is one of the advantages of working in tandem : good ideas grow by themselves and the bad ones disappear along the way.

Since we set up our design studio, we have worked across a wide range of disciplines, creating everything from furniture and household objects to commercial stores or private restaurant, yacht, jewelry and timepiece. Confendiality is our first concern. Never talking, never showing before the client agreement. They are mainly luxury houses with high-end knowledges and know-how. We are committed to respecting the charter of confidentiality of our customers every day.

Your main focus is design, only because it involves more creativity and focus more than drawing. Would you be agreed?

My artwork is about drawing. My main focus is design. Actually, I love them all, I have no favorites. Each field provides a new way to look at the other ones and this nourishes each aspect for me. Because they are all so very different: drawing stops on the paper, but paper is just the beginning for design.

Drawing is always part of a being a designer. It is the first word, the starting point, then it develops several sentences and eventually becomes the answers we were looking for. Then it turns into something else: from modeling to the final, real product.  

But the main thing is the number of people that are involved. A design project is very much a casting process from the client’s team, our design studio team, the partners, suppliers, retailers, etc … A good team of clients means that the brief will be good, which means that it will provide us with a good challenge; which then means good design, which finally turns into a good product. 

When I’m drawing, however, I’m unequivocally alone. It all has to come from me. It’s like skiing or surfing. No matter the project or end-idea, I need to trust myself, go with it, and let it all flow naturally. 

Obviously, you appreciate woman figure. It is a predominate theme in your work and I am personally drawn to the beautiful ways in which you draw them. What inspired you to draw women as eloquently as you do?

Thank you for your words. Well, I grew up into a feminine family, with a mother, sisters, aunts, grandmothers. I try to draw women like they are, not like I would like them to be. But I draw males too. Women have always been a main inspiration. Actually, I don’t draw faces. Not so much. I used to but I didn’t find the right lines. So I guess that is the main point : Everyone can think about someone in specific way because the drawings are focused on attitude, poses moment and gesture.

Your drawings of women’s figures seem so minimal in stroke, yet so rich in emotion. I love how you portray women’s bodies with such careful curves, elegance and even respect. Your drawings of women, make me proud to be a woman and proud of my body. With everything that has been going on in the news, regarding gender inequality, female objectification and #MeToo, do you see your work as an outlet or a way to speak to/inspire others on how women should be seen and respected? 

I’ve received this kind of education base on respect and humble feelings without stopping me from enjoying life. There comes my attitude to not be up to decide things for others. But when there is a blatant injustice about a person because she/he is different in color, religion or without religion, shape or age, That’s really makes me mad.

# like that should not be necessary, because women and men fought for rights that few people are insidiously withdrawing. But, unfortunately, they are. They are saying that we must not fall asleep and must not ignore that this still exist and that we must still denounce, while we are in 2018 … That’s one the shame of our history with the destruction of our environment. Our time should be progressive. And I’m one of those many men who regret the retrograde behavior of these violent predators. Now, the real question is whether such a word could have prevented one of them from becoming a president of a country that I love. 

So, if my drawings can help someone in one way or another, then I’m delighted, because it’s no longer about art but about leverage, strength and an appeasement for something good and important.

Does it get hard to express what you see while translating to the paper? 

Drawing an “etude” doesn’t take a very long time. But coming to draw one takes time. Finding the right pose, the perfect light, the most important aspect of the image that I have in mind, and the perfect tool. What then appears on the paper is a whole other phase …

Apparently, you are working on several book projects. Can you tell us more about that?

There is a current project that I love to work on : it’s a free collaboration with the French photographer Quentin Simon who has a very natural approach. We liked the idea of having a dialogue between our works and we spoke about architecture, trips in Spain and the Barcelona pavilion drawn by Mies Van der Rohe. Fairly quickly, we have focused on the sculpture of Georg Kolbe laid in the recess of the water basin : Alba. This suspended time when light and shadow are facing each other. For us, she was the beginning of the building, but also a prisoner of her reflection in the water but also in the marble and glass, thereby creating the sensation that she is multiplied in space. So, we started to imagine the rest of her story, how she would go out, where would she go, what she would do in other places, new sites, other architectures…

And there are some others in progress : an art books serie with only drawings, and more to come…

What is next for you? Where will be seeing your name?

Those that I don’t know yet…

What would you advise to young creatives?

It could be easy to tell the different footsteps that I tried and what happened. But it’s hard to show a guide on that. The main thing is the work. Listen, look, travel, learn, read, work, try and do it again and again. If you stop learning, there is a problem. You have to understand how really works the industry, whatever it’s about the art system, fashion, furniture, wine & spirit, timepiece, architecture, jewelry, interior… and so the technics, factories, suppliers, people, merchandising, store, network, medias… These are the main clues to find and create your own way.

Thanks Frédéric!

Merci à vous !

Cereal City Guide of Paris, with Frederic Forest and Grammatical

 

From the leading independent travel and style magazine Cereal comes Cereal City Guide: Paris: a portrait of the French capital offering a finely curated edit on what to see and do for discerning travelers and locals alike.

Rich Stapleton and Rosa Park, Cereal’s founders, travel extensively for the magazine and were inspired to create a series of city guides that highlighted their favorite places to visit. Now, after building a loyal readership that counts on their unique, considered advice, they are relaunching the books with a fresh design and new content.

 

Rather than a comprehensive directory of all there is to see and do, these Cereal City Guides offer instead an edit of points of interest and venues that reflect Cereal’s values in both quality and aesthetic sensibility. Rich and Rosa have personally visited hundreds of venues in Paris, distilling their preferred locales down to their firm favorites. From lively, local-filled cafés to design-driven boutiques that channel the inimitable Parisian savoir faire, these are the finds that that will offer a more personal take on the city. Meticulously researched and illustrated with original photography, each guide includes:

  • photo essays of striking images of the city
  • an illustrated neighborhood map
  • interviews and essays from celebrated locals such as artist Frédéric Forest, Patrick Seguin of Galerie Patrick Seguin, and more
  • lists of essential architectural points of interest, museums, galleries, day trips outside the city, and unique goods to buy
  • an itinerary for an ideal day in Paris

Cereal City Guide: Paris is a design-focused portrait of an iconic city, offering a distinctive look at the best museums, galleries, restaurants, and shops.

 

Living with art

Nestled in the 15th arrondissement of Paris, the apartment Pauline d’Hoop is family and elegant.
In a simple décor with Farrow & Ball shades, the antique furnitures face classic paintings and limited editions of Frédéric Forest’s minimalist drawings.
Pauline came to the interior architecture by her love of decorations, fine arts and especially engraving. Being surrounded by comic works is therefore natural. The line drawings of Frédéric Forest address this lightness and presence. The limited prints he has done with Grammatical-paris are here companions of life, real accomplices for a quality of everyday life.

A perfect place

FredericForest_grammatical

Think about the light of your space, the colours of your walls, the relationship that you share with your furniture.
This not something. It is a piece from you. It is an art for you.
Hang it or “lean” it like an object that you can move.
The perfect place is where you have always thought, a sort of déjà-vu.
The perfect place is your home.

Once upon a time

It is a sign.
It is a seal.
It is a sigil.
It is a signature.
It is an icon.
It is a fingerprint.
It is a code.
It is a stamp.
It is a writing.
It is a calligraphy.
It is a hieroglyph
It is a Kanji.
It is a Xǐ
It is a Shodo.
It is a small drawing.
It is a line drawing.

It is inked.
It was signed with a fine paintbrush.
It was drawn by Frédéric Forest for us.
It is a G. like Grammatical.
It is a F. like Frédéric Forest.
It is the togetherness of a G. and a F.

It is our official embossing stamp.
And it appears on each of our limited prints.

How To Lean Art

FredericForest_grammatical

Search for simplicity or beginning a collection community, one of our favorite looks is the “lean” that doesn’t require any nailing into the wall. Take two to five artworks of various sizes, and lean them against the wall. The key here is using layering as a technique to bring in visual interest. Lean your smaller artworks atop the larger ones, and layer the surface with a few sculptural items like vases, candle holders, or ceramics.

Because you are not putting holes in your walls, this option is allows for ultimate flexibility and you can constantly change the composition of your gallery collection and building a balance. While a beautiful fireplace mantle is an awesome spot to try this look out, you can also compose groupings on a picture ledge, shelf, or even atop a credenza. You’ll make your own seasonable adaptions.

An essay about paper

Take a leaf. A blank sheet. Just one. A simple one. And the immensity it suggests.

The paper is more a leaf. It definitely inspires us. This is the Egyptian papyrus, the invention of movable metallic characters Johannes Gutenberg, determining in the diffusion of texts and knowledge and considered a major event of the Renaissance, the sound of a Remington hitting the ribbon of ink on the paper, the traditional art of Asian calligraphy, the beauty of the Arabian writing, the irregularity of the pencil on its surface, the traces of the brush, the brilliance of the ink and its smell. The lines drawing a silhouette, a body, building the roof of a house, the roads of an upcoming project, writing the love letters of a teenager or a queen, the texts of a script, a dialogue of characters, the movement of a choreography, the notes on a sheet music. A paper is the story of humanity, culture, arts and letters, romance, theater, singing, the discovery of the world, a history of world maps, blueprints of Frank Lloyd Wright, the brilliant sketches of Leonard da Vinci, cut papers of Henri Matisse, drawings of Pablo Picasso, the heavy brush of Fabienne Verdier, the photographies of Edward Steichen and his periodical Camera Work, the quietness of a library like in Il nome della rosa of Umberto Eco, the newspapers and the magazines, the art direction of Grace Coddington, the graphic approach of Alexey Brodovitch, the movie posters of Saul Bass, the comic books of Moebius, the mangas of Katsuhiro Otomo, edition of artbooks, the magnificent ones of Jungjin Lee, Viviane Sassen or Rinko Kawauchi, the limited prints. These are made with papers. These are not all. This is paper. This is all.

It’s the one that leads us to leave. To go to a story, the wildest fantasies. It is not completely white. There is the text that we have in mind somewhere on it. A blank page is a window that we open on ourselves. Fly to oneself. Dream. Dreaming. Dreamed. A piece of paper is a beginning, a fresh start, a virgin landscape that invite us to cross it, to walk towards it. A wave waiting to be surfed. A descent field waiting to be snowboarded.
Somewhere where we are not. Someone we are.

Grammatical is about drawing like writing. Grammatical is about printing like the pleasure of shooting a good picture. It is about the action of slipping an idea on paper. As best as we can.

We are paper riders.

Hang it

FredericForest_grammatical

Back to basics, an ancient approach or better with age of your home, the staycation of hanging a painting, a photography, a drawing or a limited print helps lighten and build the graphic of a wall. You can see like a window with a view, a piece of a museum, yours actually and making your personal history, or just a part of a decor, a simple detail or something hang the wall, the space where it is.

First off, you’ll need a proper set of equipment. A hammer, tape measure, level, pencil and picture hanging hardware.
Once you’ve decided exactly where you want the frame to hang, place it in position and faintly mark the two top corners. (Use the level to make sure it’s straight!)

Using the tape measure, mark the center point of these two corners. From there, measure down the length from the top of the frame to the wire when it’s fully taut. (To get this measurement, lay your frame face down on the floor and use your index finger to pull the wire upward as far as it will go). This is where you’ll place your nail.

Be sure to use picture hanging hardware, rather than a straight nail in the wall. The hardware will be more secure for heavy frames, and you won’t run the risk of the nail bending, or coming loose in the drywall or plaster.

Credits : Wall light edited by Collection Particulière, design by Dan Yeffet