Professional Documents
Culture Documents
Icon boards can be made from all kind of wood but it must be very dry and free of knots. The icon
painter's favorite wood is the linden because it is very homogeneous, soft, and easy to work. The
fir tree and the pine, usually used in the Eastern European countries, have a poor reputation
because of the pitch they contain, but if they are quite dry and clean of resin, they can be used.
The oak and the chestnut, even very dry, tend to split because of the dominant grain of the wood.
They are best used for the small icons (less than 30 centimeters).
The wood sold today by industry is often not completely dry. It should be allowed to dry outside
for two or three years under a shelter to protect it from the elements.
Because of the lack of proper technology, the Middle Ages could not produce plywood. It is
however obvious that this wood would have been employed for the fabrication of the large icons
because of its stability, solidity and homogeneity. Marine plywood is, however, unusable because
it is impermeable and the preparatory layers will not adhere to it.
The use of laminated wood is not advised because it can often contains hollow spots between the
layers under the surface piece that may break down with time. Pressed boards should also be
avoided because this aggregate of sawdust, chips and glue can break down quickly especially in
damp climates. .
The board
If the board is slightly convex, it is appropriate to choose this side to paint on. If there is not a
convey side, the best cut of wood to use is that from the heart of the tree as indicated by the
growth lines, as illustrated below.
Wood with pits, dips or other deformities on the surface should not be used as it makes
application of paint, such as "puddling", impossible.
Once the board is cut, the two most common techniques for preparing the outer frame are :
Framing strips
Bracing
When the board size exceeds 30 cm in
width, it should be reinforced by bracing
cross pieces to the back. This will limit
warping of the board.
Braces should be made of a wood that is
of a greater hardness than that of the
board.
Scoring
Once the board finished it must be scored
diagonally over its whole surface. Use
something like an "Exacto" knife or box
knife. This will allow the glue to penetrate
the wood and guarantee better adhesion.
The rough edges of the board should be
smoothed down with a sixty grit
sandpaper.
Be sure to cover the container of levkas with plastic wrap to present evaporation as it cools.
To insure that the strength of the glue is not diminished during the application of these layers, be
sure to add a tablespoon or more of water each time the levkas is reheated. If it is not done the
levkas may crack.
Sandpapering
After the third layer, and when the levkas
is quite dry, sand using a block of wood
covered with 80 to 240 sandpaper to
eliminate gross irregularities. Sand using
regular and circular motions.
Begin with 80 to 120 grit sandpaper, then
240, then 400, and finally use 600 to
eliminate the last of the surface lines and
to polish the board. The board will feel as
smooth as ivory.
Avoid over-sanding or removing too
much levkas as the linen will reappear
and with any first layer bubbles.
Notice in the drawing of St. Andrew that the negative and positive areas of the board are both
well balanced and of a scale that is pleasing to the eye and increases the sense of the presence of
the image. Notice also that the halo touches the edge to enhance this sense of presence. Be aware
also that the right eye is placed in the center of the board, thereby accentuating the force of the
glance toward the viewer.
Engraving
Various instruments with hard metal points that are used for engraving can be found in art supply
stores. But a pencil with a nail attached will work equally well as illustrated below ...
Be very carefull that you do not engrave too deeply. Lines should be very precise and this may be
achieved by pulling the point towards you and by turning the board as you go each time you feel
that the precise control of the line is being lost.
Beginners will engrave all of the drawing paying special attention to the lines of the face. The
more experienced painters will engrave less and less of the drawing. For them it is sufficient to
engrave just the shape of the hands and feet, the lines of the eyes, the mouth and the areas that are
to be gilded. After the engraving has been done the remainder of the drawing lines that are not
essential may be eraced.
Gilding
Gilding is an art in itself and control over the various techniques of gilding may be achieved only
after a many years of practice. Based on observation of old icons, gilding can be classified in two
main categories according to its final appearance :
Gilding that is burnished. Gold that is burinshed has the appearance of a mirror. This
technique uses a ground of fine clay (Armenian bole) on which is applied loose gold
leaves. The bole chrated a flexible surface that allows for polishing the gold with an agate
burnisher. Burnishing gold on bole will leave no scratches or tracts after the work is
complete;
Oil or water gilding which gives a living and warm light to the icon :
o Oil size should be diluted by one-third with rectified benzine. According to the
instruction on the bottle, you must wait three to twelve hours for this size to tack
up before applying the gold leaf. You can test the surface for the best moment for
application of the gold leaf by running your finger on the surface of the size. The
surface should be solid, the size should not stick to the finger, and will "grate" you
pull your finger over the surface. Application of the gold may begin according to
the technique illustrated below.
o
Water gilding, also called gilding on bole, consists of applying loose sheets of gold on a layer of
red clay (bole). The bole supplies a flexible surface that allows for polishing the gold with an
agate burnisher thereby obtaining a brilliant and very smooth effect. The bole gives the gold red
reflections due to transparency. This technique of gilding requires a significant investment in
materials and long practice to obtain good results.
Materials
The following materials are required:
- sheets of loose gold (sold in booklets of 10 to
25 leaves, 8 x 8cm)
- Armenia clay or premixed red bole (LefrancBourgeois)
- rabbit skin glue in granules
- a gilder's cushion with its protection
- a gilding knife to cut out the pieces of gold
- a gilder's tip to carry the pieces of gold from
the cushion to the icon
- a tooth-shaped agate burnisher
- a gilding mop to stamp and to clean the gilded
surface
- a round sable watercolor brush to moisten the
bole surface
- 90% alcohol (or Vodka!)
- bleached shellac to protect the gilding
Applying bole
.
- Carry a piece of gold using the gilder's tip and lay it out on the water size.
To make the piece of gold stick to the tip, slightly rub it on your cheek or on the back of your
hand to create a small charge of static electricity which will attract the gold.
Once the gold is laid on the puddle, it will
extend itself out onto the bole. If air bubbles
appear under the gold, drive them out by tapping
gently with a soft brush.
- Repeat these steps until the entire surface to be
gilded is covered. Overlap the pieces of gold to
avoid holes in the area being gilded.
- If a hole does appear, spread a little of the
water size on the bare place and apply another
piece of gold.
The best producers of these pigments are Sennelier, Kremer and Zecchi. These good quality
pigments may be mixed with water, blended until a homogeneous paste is created and this paste
may be stored for several days. To preserve this paste, put it into a small hermetic container, photo
film containers work very well, and add a little distilled water on top. Keep sealed until you are
ready to use.
Some colors, such as emerald green and ultramarine blue, dry more quickly and so it is important
to add more water to them and to stir them from time to time. Others, such as titanium white,
produce lumps when drying; and yellow ochre, that is used to paint faces, must be refined with a
glass muller on a glass slab.
Some colors, such as emerald green and vermillion, are also very hard to dilute with water and
should be diluted first with alcohol which will evaporate. A limited number of pigments (about
fifteen) are used for the majority of icons and the individual colors are not used in pure form but
always mixed with other colors. The basic pallet of colors for iconography is:
Ultramarine Blue
Emerald Green substitute
Veronese Green
Cadmium Yellow substitute
Yellow Ochre, clear
Red Ochre
Lead White
Titanium White
Burnt Sienna
Cobalt Blue
Cadmium Red
Red Vermillion
Naples Yellow substitute
Lamp Black
Caution : Some colors are incompatible with other colors (see the table of colors). For example
Cadmium yellow will degrade Yellow Ochre, that is used on faces, after a few years. And Zinc
Oxide will turn to gray very quickly when used alone.
And some colors, such as lead white, are toxic and precautions must be taken when using them.
First recipe: to one volume egg yolk add one volume of lager.
Second recipe: to one volume egg yolk add two volumes of white wine.
Mix the preparation together and keep it in the freezer. Use a dropper to dispense for painting.
Choosing brushes
Brushes that are used for egg tempera should have bristles that
are short yet firm enough for lining, and have a body that is
round enough to hold the liquid medium used for painting. They
must have and hold a good point when wet. Ask to check for all
these features prior to purchasing your brushes. Kolinsky sable
watercolor brushes are the best; but they are also the most
expensive. Isaby brushes are also of very good quality. In
addition it is useful to have a 1" to 3" flat watercolor brush for
background washes and for edges.
The best way to take care of your brushes is to wash them immediately after use with clear water
and hang them with the point down to dry. Do not allow pigment to dry in them. If a brush is not
used for a long time, gently smooth it with oil. To try to save a brush that has lost its shape, dip it
in egg tempera, point it, and let it dry.
For the beginner to paint a small sized icon three brushes will be sufficient:
Color preparation
Determining the exact proportion of emulsion to be added to pigments is difficult because of two
factors:
There are pigments that absorb more emulsion that others . (see the table of colors)
The degree of transparency one strives for in an icon, the proportions vary from one
school to another
Painting garments
The steps involved in painting a garment are essentially alternating light puddles of color with
lining as follows:
Click on the picture...
the area of greatest highlight. If you have too much pigment on your brush dry it
off so that you don't dump a large amount of pigment onto the garment. Determine
if the area of the greatest density of pigment is correct. If not use the point of the
brush to "push" the pigment into place.
This is a technique that is somewhere between the "puddling" technique described
in step three and the technique of lining with the brush. Work quickly so that the
color does not lift from the levkas. If this occurs, allow it to dry completely and
then gently scrape the color off with a razor and begin again. Be very careful to not
damage the levkas. Do not be too concerned if the lines are lost during this process
as they will be redrawn several times during the following stages;
Repeat this process on each of the garments.
o
o
o
o
Apply the color to the area to be high-lighted by stumping. Stumping is a dry brush
technique that gradually tapers the color. With a dry brush, work from the lightest
to the darkest areas with fast, light brush strokes;
Repeat this process two or three times increasing the proportion of titanium white
and reducing the highlighted surface;
The last lines are then applied with a mix of 80% titanium white;
Retrace the lines;
Apply a fine wash of egg emulsion over the whole garment.
Finishing
o
dark brown-green from the School of Pskov, luminous brown-green from the school of Moscow,
chocolate-brown from Greek iconography and from the Novgorod School, and brown-gilded from
the Cretan School.
The color of sanquir we will illustrate is from the School of Novgorod.
- Mix the sanquir according to the
following proportions: three parts red
ochre to one part yellow ochre. Mix with
water;
- Add to the above mixture a little blue
and emerald green to obtain a chocolate
color;
- If the mixture is to red, add more of the
yellow ochre, etc...
- Test the color on paper. Decide if it is a
good color after it dries;
- The color should not be too transparent
as it must contrast with the highlights;
- Add enough egg tempera to the basic
layer to create a solid support for the
layers of highlighting that will follow;
- Apply an opaque puddle over the entire
face and neck starting at the top of the
head and extending the puddle down until
it has covered the entire area. Avoid
"scraping" the board with the brush as
you paint and do not go over what has
been laid down;
- Apply the same sanquir "puddle" to the
feet, hands, and other flesh parts of the
icon;
- On a level horizontal surface, allow it to
dry. Do not attempt to touch up any
imperfections.
The material
The following materials are required to do a gold
assist:
- A fine brush to apply the sizing.
- Sheets of gold leaf on a backing.
- Talcum powder to protect the painting.
- The soft part of black bread to press in the gold
leaves.
- Wadding cotton to smooth the gold.
- Bleached shellac to protect the gold.
Put a half glass of stout beer in a container and add a half teaspoon of red ochre to it. Stir
well and let it dry several days. The molasses thus obtained constitutes the glue to affix the
gold and you only need to wet it a little before use. The addition of red ochre is to make
visible the lines traced on the icon. It is possible to accelerate the drying process by
heating the beer slowly. This glue can be kept indefinitely.
Synthetic sizing:
Some iconographers use synthetic water sizing to apply gold assists. The difficulty
consists in finding a good dilution to obtain fine and precise rays as sizing with too much
water can cause blurring.
The assist
- Apply the sizing, making precise and regular
lines and repeating this two or three times.
- Let dry a few minutes.
- If the surface of the assist is large, divide your
work into several parts.
- Clean the paintbrush from time to time with
water to prevent talc from gathering.
Calligraphy
Calligraphy as well as gilding is an art in itself. It is highly recommended that one do the
inscription over and over on paper before transferring on the board. The letterings confers on the
icon the spiritual presence of the persons represented. And, after being blessed by a priest, they
are considered worthy of either individual or public veneration.
It is very important to determine an appropriate size for the inscription in comparison to the size
of the icon. Too large of an inscription alters the harmony of the image. It should be discrete but
readable.
One of the traditional liturgical languages of the Church (Greek, Slavonic, Latin, Arab etc...) is
generally chosen for the inscriptions. This depends mainly on the school to which the selected
model is attached. It is also possible to use the vernacular language. In this case choose a style of
calligraphy that is harmonious (many contemporary iconographers choose a style that is similar to
" uncial ").
- The color for the calligraphy is the same
as the color used for the halo and line
around the outside border.
- The brush should be perfect to create an
inscription that is precise and clear
- The lines should be practiced first by
tracing the original inscription or freehand lines so that final lines will be fine
- The lines should go from very thin, to
thick, and taper off to thin
- The emphasis for lettering should be
vertical vs. horizontal, and the vertical
bars of the letters are thicker than
diagonal or horizontal bars.
- Mix the pigment with either ox gall or saliva. This allows the inscription adhere to the gold
background. When it is dry, fix the inscription with transparent shellac.
The traditional icon varnish is olifa. This is an oil-based varnish made with linseed oil to which a
drier, such as cobalt drier or stand oil, has been added. Today however there are a wide variety of
varnishes that give all the advantages of olifa (transparency, blending of color, luminosity),
without its problems (oxidation, dust, and difficulties of application). Who could say if Andrei
Rublev, had he lived today, would have choosen olifa over one of these varnishes for his icons ?
Ans it is noteworthy that many contemporary icon painters use these modern varnishes to cover
their icons.
Olifa
o
Materials :
One liter of faded linseed oil (oil that has been exposed to the sun for
several days).
Olifa preparation :
Heat the linseed oil to 280 degrees. Add 2,5 g of cobalt acetate.
Cook while stirring.
Alternate preparation of olifa :
Heat linseed oil, that has been exposed to the sun for a long time, slowly
over five hours time until it reaches 150 degrees.
Varnishing : :
Pour a thick layer of olifa over the entire icon.
Remove the excess olifa with your hand and recover any excess for reuse.
Allow it to dry for two hours and then remove any remaining olifa with
China paper. "Viva" paper towels are also effective.
Check every fifteen minutes for two to three hours. Spread olifa onto any
dry areas of the icon that appears.
When the olifa "takes" smooth it quickly and delicately with the palm of
the hand.
Let it dry in a place for two months in away that is free from dust.
Varia :
Olifa should be reheated every 6 months.
The best synthetic varnishes one may use for the icon are the Lascaux and
Liquitex. Both have a milky appearance. They are sold in both matte and gloss. It
is best to mix both the matte and gloss in equal parts to obtain a satin effect.
Method:
To varnish add 40%water.
Clean all dust, etc... from the icon.
Mix well and use a flexible 10 to 15 mm brush.
Apply two very thin layers in different directions.Do not apply to
the previous layer until the first layer is completely dry.
The applied layer may appear to have a milky quality, but it will
become transparent after it dries for five or ten minutes. Don't touch
while the varnish is drying.
Disadvantage of this process :
It is not possibleto make any final corrections after use of this
varnish. It can only be removed with a trichloretylene solution.
It is possible to varnish the icon with a diluted mixture of shellac. Simply mix the
shellac with thirty-percent ninety proof alcohol.
Drawing research