The Worlington Movement

On Thursday, I was invited by my friend Heath Rosselli to visit her painting mentor, Rosa Branson, in London.

Both Heath and Rosa are highly successful professional artists working in the field of portraiture and charity commissions. They champion the use of traditional materials and techniques and have set up the Worlington movement to counter what they see as the appalling lack of teaching in these subjects  in present day art schools.

Rosa, now eighty, still paints for 7 hours a day. Her passion, enthusiasm and energy are truly inspiring. It was fascinating to see her vast canvasses in the flesh as we wandered round her home and studio. Disillusioned by the 5 years she spent at art school, she then studied under Dr. H. Ruhemann , chief restorer at the National Gallery in London. In order to preserve this knowledge she has written a book which is now in the process of being published.

Joining us for lunch was Prof. Michael Baum, one of Britain's leading cancer specialists and artist Israel Zohar. Mike is shortly to retire and has already taken up his interest in art, studying under Israel Z.

Over a generous  lunch, art dominated the menu as we explored the merits of traditional techniques versus reliance on technical aids and modern materials. It certainly produced some lively and entertaining discussions.

Life Drawing at West Norfolk Arts Centre.

Last weekend , I taught a life drawing course at West Norfolk Arts Centre. It was my first visit there and I am pleased to say it was a great success.
Situated in the heart of Castle Rising, a delightful conservation village bordering the Sandringham estate, the centre is in an ideal spot for painting landscapes. Close by are nature reserves and the North Norfolk coast, as well as a multitude of architectural gems.

During the two day course, however, we understandably stayed indoors. Subjects I covered were anatomy, proportion, tone, and perspective as well as explaining and demonstrating various techniques and the different materials that can be used.




It was a very full day, starting with rapid sketches and moving on to numerous exercises to challenge the students' normal way of working. Finally, on to longer and more detailed studies.



Richard and Ros Cartwright ,our hosts, made everyone welcome and provided a superb lunch and endless refreshments. It was a most enjoyable experience for all and one which will hopefully be repeated in the future.

I will also be teaching the following courses there later in the year. "The Art of painting in Gouache" 23rd/24th July and "Portrait Painting Made Easy" 28th-30th October.

For details of these and all other courses, telephone Richard or Ros on 01553 631 689

One to one art tuition.

I am often asked if I do one to one tuition or teach small groups in my studio. This is something I am always happy to do for a variety of reasons. Assuming the student is keen to learn and has no objection to doing "homework", he/she can make huge progress in a very short space of time.
For me that is very rewarding.
During the time in my studio, I demonstrate materials and various techniques, I set a subject for the day and oversee how the student progresses with this. At the end I offer advice and a crit. as to how the work can be taken forward. I then suggest various pieces of work to be completed before the next session. These will be commented on at the beginning of that session. As I repeatedly tell my students, it really is about practice, practice and more practice!

How to create a charcoal portrait of a child

The materials I will be using are thin sticks of willow charcoal, charcoal pencils, black conte crayon, a putty rubber, cotton buds, torchons and a smooth cloth . I am working on pre-soaked and stretched Sanders watercolour paper (140 gms.) As watercolour papers go this is fairly smooth, but it has enough tooth to hold the charcoal powder.


Using the willow charcoal, I quickly rough in the basic shape of the head and position of the various features. Nothing is as yet fixed in stone. Willow charcoal can easily be dusted off and amendments made.


As I am fairly happy with the beginnings of a likeness, I start to strengthen the details and tones of eyes and mouth. This is done with a charcoal pencil ( medium). I also work on building up the shadows. I scrub the willow charcoal over the area and then soften with fingers, torchons or cloth.


I now pay attention to the background , blocking it in with compressed charcoal and charcoal
pencils (dark) The hair is begun.



From here it is a matter of simply refining the detail. To get the precision I want, in the eyes for instance, I use a sharpened conte crayon. But you have to be certain it is in the right place, for conte is a very difficult material to erase! I build layer upon layer to get the depth of shadow I want. On top of the initial willow charcoal, I use the charcoal pencils , stroking them in very gently and then smoothly blending with torchons or cotton buds. A mahl stick is another useful implement as I have often absentmindedly lent my hand upon a drawing and erased or smudged large areas. I also on occasions mask off the areas of the drawing I am not working on.




The finished drawing.




Charcoal is a particularly lovely medium for drawing children. It allows for both delicacy and detail.