About
This five-day workshop offers a comprehensive introduction to the traditional practice of egg tempera painting, based on the techniques and materials described by the Florentine artist Cennino Cennini in his renowned handbook, Il Libro dell’Arte.
Guided step-by-step, students will create an egg tempera painting on a traditionally prepared gesso panel. The process begins with the preparation of mineral and organic pigments, mixed with water and fresh egg yolk.
From there, the subject is developed in subtle tones using verdaccio—a monochromatic underpainting in earth colours that establishes the tonal structure. This foundational layer allows the final application of pure, vibrant colours to emerge with clarity and luminosity. Verdaccio is the cornerstone of Renaissance painting. Through this ancient technique, colour is revealed by the dynamic interplay of light and shadow, resulting in rich, luminous tones unique to this historic method.
Once the underpainting is complete, students will begin applying thin layers of pure colour. They will receive instruction on this method, including a discussion of its philosophical underpinnings and the benefits it offers compared to pre-mixing colours before application.
Finally, students will also sample a simple gilding technique to finish or highlight small areas with gold leaf. This technique uses garlic juice as the mordant (or glue), following Cennini’s original instructions.
Key Information
Who is this course for?
All levels of ability and experience welcome. You must be aged 18 or over to participate in our programmes.
What days/times do I attend?
Monday – Friday, 3 – 7 August 2026, 10:00 – 16:30
How many students can attend?
14 people
Where will this course take place?
This course will take place at our studios at The King’s Foundation School of Traditional Arts, 19-22 Charlotte Road, London EC2A 3SG.
What should I bring to class?
Students will need to bring their own brushes:
- a set of pointed Kolinsky Sable Brushes, numbers 0 – 5 (standard length, short handle, not miniature brushes).
Wear comfortable clothing that you do not mind getting slightly messy. Avoid wearing baggy clothing (especially sleeves), loose jewellery, high heels or open-toed shoes.
FAQs
Do you offer concessions?
Yes, we offer concessions for Seniors/60+, full-time students and people who are unemployed/in receipt of benefits.
Concessions cannot be applied in retrospect. To receive a concession, please apply via our online form. We will then send you a discount code to use when booking your space.
Terms & Conditions
The School reserves the right to discontinue or suspend a Course up to fourteen (14) calendar days before the advertised start date of the Course. This course requires a minimum number of enrollments to run.
The School may take and use images of you and/or your work for course advertisement and social media purposes.
Our normal terms and conditions apply.
Tutor Biography
Dr. David Cranswick received his MA fine art degree from the Royal Academy of Art. In 1999 he received his PhD from HRH Prince of Wales at St James Palace for practical research into mediaeval and renaissance painting materials and techniques. From 1984 David served as personal apprentice to Cecil Collins until his death in 1989. In 1989 David was invited by Professor Keith Critchlow to run regular workshops to the MA and PhD students, where he continues to teach as senior tutor at The King’s Foundation School of Traditional Arts. He teaches regularly in the UK and internationally. David is personal tutor to several Royalties and prominent figures. He has works in royal collections (including King Charles III) also prominent establishments in the UK and abroad. David is resident artist in Cowdray Castle. David has appeared in BBC television programmes and radio interviews. Articles published include art magazines and newspapers. He has exhibited internationally since 1979 and undertaken portrait commissions. In 2024 David received the Teaching Award from King Charles III for 35 years of dedicated teaching. Dr. Cranswick has written a book on desert pigments of AlUla. He is currently writing a book on traditional painting methods.
