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Choosing the wood

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.

Calculating the size


Before cutting a board, it is necessary to calculate its exact proportions according to the chosen
size of the icon. .

The proportions are always calculated for the


interior frame of the icon, for example:
- 3 X 4 for half-lenght figures (see opposite)
- 4 X 6 for the Mother of God of Vladimir
- 1 X 3 for full standing figures
- 4 X 5 for the Trinity of Roublev...
The width of the outer frame must be added to the
inner dimensions of the icon before cutting the
board. These frame strips can be of various types :
- 4 strips of equal width.
- 3 equal strips and a wider bottom strip.
- 2 vertical strips of equal size and 2 broader
horizontal strips of equal size. .

Once the board is cut, the two most common techniques for preparing the outer frame are :

The carved board


Generally boards are carved 2 to 5 mm thick or
more, if one desired. This work can be done
using a gouge and a large mallet or an electric
router.
Make the bottom surface smooth or clean with
strokes of a scraper.
If small knots appear on the surface, it is
necessary to hollow them out with a gouge and to
fill the holes with a wood paste. This paste can be
made by mixing fine sawdust and the
woodworking glue. Better yet, avoid using any
wood that has knots on the surface upon which
you will paint.
A pear tree board of 25 mm thickness and of 3 mm depth.

Framing strips

It is also possible to make a frame by


using wood strips (e.g. balsa) which is
glued to the edges of the board with
woodworking or "Hide" glue. These strips
can be held in place while the glue dries
by clamping the strips overnight. The
strips should have a rounded inner edge
and should never be made of a wood that
is harder than the wood of the board.
Caution : The strips should never be
attached to the board with nails as the
metal can cause the board split or become
stained over time.
Cross cut out in plywood and framed with wood 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.

A linden board with oak reinforcements.

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.

Preparation of the glue


The glue that is usually used for this is
rabbit skin glue. It is sold in a variety of
forms from chips, granules, to crystals.

Proportions for 5 to 6 boards at 20


X 25 cm.
To one liter of cold water add 200 grams
of hide glue and the mixture to sit
overnight. It will convert into a gelatinous
or jelly like substance.

The following day, heat the glue in a double boiler, while


stirring with a wire whip, and heat until the first bubbles
form around the outer edge of the pan.
The glue has to be very hot and should be thoroughly
stirred before application to eliminate any lumps. If you
wish to use the glue later, heat it in a double boiler. Do
not boil as glue that becomes to hot will loose its ability
to bind.
This preparation is used for :
- The wooden framing strips.
- The first layer over the whole board.
- Mounting the linen on the board.
The glue can be preserved for several weeks in the
refrigerator.

Gluing the board


When the glue is quite hot, take it off the
heat and spread it evenly and thinly over
the entire surface of the board using a
large flat brush. Spread glue on both sides
to protect it from mold. Wash the brush
and wire with hot water and let the board
dry overnight.

Mounting the linen on the board


This process consists of attaching linen cloth to the board in order to have solidarity between the
cloth and the wood. This provides a surface that is flexible and helps to eliminate cracking in the
gesso.
If you use plywood this is unnecessary as a good quality of plywood is very stable and does not
warp.
- Cut a piece of linen that is a little larger
than the size of the board. Old cotton
cloth also works well. Don't use linens
that is too thick or has too tight a weave
as they can react unevenly to the moisture
and may cause cracks.
- Coat the board with glue, wait until it is
absorbed and push the linen out from the
center thus driving out any air bubbles.
You can use also a wooden block along
the edges to ensure that the linen sticks
well.
- Be careful that the glue does not go
through the linen. You want to be able to
locate any air bubble after the surface
dries. It is not necessary to cover the
edges of the board with linen.

After drying overnight, examine the board


carefully by firmly rubbing it with your
hand. If the linen fibers move under this
pressure, the presence of air bubbles is
indicated... Make a notch in a cross over
the bubbles, lift the linen and inject a
small amount of glue. Then, using an
"exacto" knife, score all around the outer
circumference of the interior frame. This
releases the tension between the edge and
the board and prevents cracking

Put another layer of glue over the entire


of the linen especially along the beveled
inner edge. Let it dry overnight.

When the glue is dry, cut off any


excess linen beyond the outer edges
of the board with a knife.
If you want to preserve the
appearance of the wood on the sides,
cover them with adhesive tape.

Proportions for 5 to 6 boards at 20


X 25 cm.
The Levkas, Gesso
The word levkas comes from the Greek " leukos " which means white. It is the name given to the
fine alabaster powder, or chalk, that is mixed with glue and applied to the board. When painted
on, colors can be shown in their best transparent quality.

Add 80 grams of hide glue to one liter of


water. It will to gelatinous substance
overnight.
The following day, heat the glue in a
double boiler and gradually incorporate
into it a kilo of alabaster powder or
French chalk. Continue adding the chalk
while stirring forcefully with a wire whip.

After all the chalk is incorporated,


continue stirring until all the lumps are
gone and steam appears. Add five or six
drops of linseed oil to the mixture. This
will give a good flexibility to the levkas.
Remove from the heat and continue
mixing for a few minutes. Never boil the
levkas, It is better to prepare this in a
container that is very deep as this will
prevent too much moisture evaporating.
Do not remove the skin that formss on top
of the levkas as it will dissolve itself as it
is mixed.

The first four layers of levkas


The levkas cools and thickens very
quickly and so it should be applied when
it is very hot with a large brush in quick
passages. The layer should be eve and as
fine as possible to reduce the risk of
cracks.
If you are coating several boards at a
time, be sure to heat the levkas up over
and over and to keep stirring it as the glue
is heavier than the chalk and tends to drop
to the bottom of the container.
Let it dry overnight.
To give equal coverage over the entire board surface, apply the first of the four layer of levkas by
applying the brush strokes in a crisscross manner. Work out any small bubbles that appear in this
first layer. In the successive layer apply the mixture firmly with a spatula or putty knife .

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.

The double layers of levkas


The purpose of the double layers of levkas is to slow the drying process. This is accomplished by
applying the levkas with a spatula or putty knife. Repeat his process two to three times depending
upon the result you wish to obtain. Do not apply additional layer to levkas that has already been
finished.
- Apply a layer of levkas with a brush
- Allow to dry 5 minutes so that the layer
becomes matt
- Put another layer of levkas with the
brush
- Make a smooth flat passage with the
edge of a spatula. Then, from the edges,
make a beveled edge by pulling
downwards with the spatula towards the
interior surface. Repeat this all along the
interior edges turning the board as you
make application.
- Run a wet index finger along the bevel
to erase all traces of the spatula and to
align the angles of the bevel.

The finish layer


Check for any faults, small holes, or spatula lines. Drop small amounts of levkas on any of these
areas. These drops are applied directly on to the dry bottom surface and are smoothed out by
drawing the spatula across the surface. Or they are smoothed out with the palm of a hand that is
slightly humid. If any small bubbles remain, you can also correct them in the same way with a
slightly moist palm.

Fissures and cracks


If cracks appear at any time during the
application of the layers or when the
board is finished, it is best to remove all
the levkas from the board, determine if
there are major defects (knots, fissures or
significant warping). Then if the board is
sound, re-apply the layers.
Things will only get worse if additional
layers are applied over the cracked
surface. And fissures will only become
more pronounced.
Remember that an icon board should not have the sense of mechanical perfection of an industrial
product. The imperfections of a board harm neither the aesthetics nor the spiritual value of an
icon. It is important however that the board not have large faults especially in the area where the
face will be. The face, after all, is the center of presence in the icon. Small cracks at certain
secondary places can be allowed such as along a bevel or along the frame.

Drawing (see byzantine style)


A good drawing is essential for a successful icon. As far as possible, take time to study good icons
done by the Masters and, do not deviate from the original. Look at numerous models in books
with good reproductions. Test your drawing by viewing it in a mirror, live with it by hanging it on
a wall where you live and, if it is possible ask for the opinion of an experienced icon painter.
Drawing can be improved and corrected during the drawing process by using tracing paper of
China paper and, making drawings over the top of the original drawing. The more often the image
is drawn the more it will help you both get a good drawing and to line the finished drawing on the
board with a brush

After you have a good drawing, cover the back of


the drawing paper with red ochre powder, align the
drawing properly on the board, tape it down, and
transfer the drawing to the board by tracing over the
original drawing. Remove the drawing and redraw
the image on the board with red lead. Red leads are
preferable to graphite because they are not as dirty
and the drawing will disappears under the colors.
The exception to this is for any drawing that is done
under very transparent layers of color.
Don't throw away your drawings because they may
be useful as a reference to recover the original lines
during the stages of painting.

The drawing of saint Andrew

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

The water (Aqua) size : .


Basic materials :
- Quick water size looks milky and is sold
in fine arts stores;
- Sheets of gold leaf on a backing, Paten
Gold, are sold in notebooks of 10 to 25
sheets, 8 x 8cm;
- Synthetic hair brush to spread the size
on the surface;
- Gilding mop with a rounded dome to
clean the gilded surface.

Add 30% water to the size to avoid the


mixture from becoming thick giving the
appearance of raised areas or brush
strokes under the gold.
Determine the area to be gilded, i.e.,
background and haloes or only haloes.
After carefully cleaning the board, spread
out the size over a little area of the surface
to be gilded. To not go over the engraving
lines.
Cut out strips of the Paten gold sheet.
After ten minutes drying time, and when
the surface has absorbed all the liquid,
transfer the gold to the sized area of the
board by laying the gold flat on the area
and pressing slightly on the backing sheet.
Pull the backing sheet away and the gold
should adhear to the areas where the size
was applied

Continue the application over the whole


area that the gold is to be applied to.
Apply the size mixture to the next area to
be gilded until the entire surface is
covered.
To join together two areas of gilding,
allow the size to overflow slightly over
the gold that has been applied and cover it
with a new sheet of gold.

Allow the finished gilding to dry for one


hour and delicately remove the excell
gold with a gilding mop.
After cleaning, if there are holes in the
gilding they may be repaired by applying
a little size and gold over the places to be
repaired.

All this to dry overnight and then protect


the gilding with a layer of bleached
shellac.
Use 90% alcohol to dilute shellac and to
clean the brushes used for its application.

To the mixed shellac, add 50% alcohol


and apply it in one passage over the gold
in order to avoid thickness.
Clean the brushes and allow them to dry
for one hour.

Remove any gold barbs with an "exacto"


or box knife.

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.

The preparation of the levkas


Very close attention must be paid to the quality of the levkas that will receive water gilding. The
surface must be perfectly flat, smooth and carefully sanded as the slightest imperfection risks
causing scratches in the gold during burnishing.

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

The preparation of the bole

Preparation with clay in powder form:


The Armenian clay is a mixture of very fine ground and iron oxide of yellow, red or brown
color. It can be found in specialized art supply stores. The clay used in iconography is
always of red color.
- Soak 10 grams of rabbit skin glue in 250 ml of water. It will turn into a gelatinous
substance overnight.
- Crush the Armenian clay until it becomes a very fine dust.
- The following day, warm the mixture of water and glue in a double boiler. Add a
teaspoon of clay, and stir until completely dissolved.
- Filter the bole through an old sheer stocking.
- Allow the mixture to settle overnight. The bole is ready to use.

Preparation with premixed red bole:


Premixed bole is in a wet paste form composed of Armenian clay and water. It must be
blended with rabbit skin glue for use as follows:
- Soak 10 grams of rabbit skin glue in 200 ml of water overnight.
- Heat the mixture in a double boiler.
- Gradually add the bole into the glue mixture in a ratio of 1 volume of paste to 1 volume
of glue mixture.
- Stir it well and let settle overnight.

Applying bole

- Moisten the entire surface to be gilded with


clear water to soften the levkas. This will allow
the bole to penetrate the levkas and guarantee
better adhesion.
- Heat the bole in a double boiler and apply a
thin and regular layer to the surface. Let it dry at
least six hours.
- If the layer cracks or peels off, the glue is too
strong: carefully remove the bole with extra-fine
sandpaper, add more water to the mixture and
apply again.
- Apply four layers of bole in the same manner.
Allow six hours of drying time between each
layer.
- Scrape very delicately the surface of the bole
with a razor blade.
- Then rub the surface using a rough rag, the
rough side of a sheet of Kraft paper or horsehair
cloth.
- The smoothing of the bole must be perfect as
the slightest grain will hit the agate and cause a
stripe or hole in the gilding.

Preparing the water size


Fill a large glass with 200 ml. of water. Add 50 ml. of 90 proof alcohol (or Vodka!) and some
grains of rabbit skin glue. Heat slightly in a double boiler and let it cool. Gilding water size can be
used cold because of its very low glue content.

Applying gold leaf


Gilding with loose gold leaf is a delicate operation that requires a very sensitive touch. The gold
sheets, light and fragile, can crumple at the slighest disturbance. All doors and windows should be
closed to prevent drafts. You should even hold your breath, especially when approaching the
gilder's cushion...
Other precautions should be taken: nothing that comes into contact with the gold leaves should be
touched with the fingers. The gilder's knife must be degreased with alcohol before use. Don't
touch the cushion directly with the hand as it is covered with a degreased calfskin on which gold
does not stick. Finally, do not try to hold or to pick up the gold sheet with the fingers as it would
be destroyed at once. Only pick it up with the gilder's tip.

- Hold the booklet of gold leaves above the


cushion and slip onto the cushion a gold leaf
using the gilder's knife.
- Lay out the leaf on the cushion using the knife
while blowing on the gold softly from above in
the direction you want the gold to lay.

- Dcouper la feuille d'or en petit carrs


proportionns la grandeur de la dorure
effectuer.
Cut the gold leaf into small squares according to
the size of the gilding area with a gilding knife,
a very sharp stainless knife. Place the blade on
the gold leaf and, pressing slightly, make a small
back and forth movement. Then raise the knife
carefully. Be careful not to incise the leather of
the cushion!
- Moisten de surface to be gilded abundantly
with the water size, using a squirrel brush.

.
- 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.

Burnishing with the agate


- After two hours of drying time, polish the
gilded area with an agate burnisher tool.
- Press the agate slightly on to the gold and
make circular movements.
The area that is being polished will become
mirror-brilliant in contrast to the rest of the gold,
which will retain a matte finish.
- Finish burnishing, clean the surface by
delicately removing excess gold with a gilding
mop.
- If holes appear in the gilding after the cleaning
process, they may be repaired by spreading a
little of the water size over the bare places,
applying pieces of gold that are larger than the
holes, waiting an hour and burnishing once
again.
- Protect the gilding with a coat of bleached
shellac diluted in 50% alcohol.

Choosing and preparing pigments


Throughout the centuries icon painters had employed only those pigments that were available in
their countries and that were used in the schools to which they were attached. Today, pigments are
manufactured in a large range of colors and sold in fine art stores.

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.

Egg tempera preparation (emulsion)


Egg Tempera is used as the binder for pigments in painting icons. Although ready-made egg
tempera colors are available in art supply stores they contain preservatives that may harm the
solidity of some colors. So it is preferable to make them oneself and there are several formulas for
preparing egg tempera.

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:

A Kolinsky sable #0 for detail work;


A medium synthetic hair brush #2 or #3 for drawing, puddling on color and dry brushing;

A large synthetic brush #4 or #5 for puddling large areas and glazing.

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

Generally, it is better to use less emulsion than more emulsion.


Put some of the color paste on a palette, a
simple white porcelain plate is sufficient.
To this add one or two drops of emulsion
and mix with a brush. The mixture must
be homogeneous and remain stable while
stirring. If the pigment separates form the
mixture add a drop of emulsion. If the
color is to "waxy" add more water.

Painting garments
The steps involved in painting a garment are essentially alternating light puddles of color with
lining as follows:
Click on the picture...

First stage : tracing the garments lines.


o Mix a color that is high in density with just a little water to make a lines that are
pronounced and precise;
o Even if the drawing has been engraved be sure to retrace the lines of the drawing
with a fine brush liner. Use a color that is darker than the local tone of the whole
garment, i.e., red ochre to darken yellow ochre, blue to darken red, black to darken
blue, blue and black to darken green, burnt Sienna or black to darken red ochre,
etc. Test your color on paper before applying to the drawing. Let dry.
o To give movement and life to the lines, pull the brush away from the painter
outward toward the outside of the board in fast and assured movements. Practice
this movement before drawing on the board:
Control your movement by placing your elbow on the table and using it as
an axis of rotation;
Turn the board as you "feel" for the direction of the lines that flow away
from you;
Keep your wrist flexible and supple;
Allow the line to "die" at the end by tapering off to nothing;
Make any corrections in your drawing or engraving at this time by
modifying the lines.

Second stage : first modeling.


o To the color of the first stage add a 1:1 ration of water;
o Make a very careful study of the direction and movement of the folds of the
garment and identify areas of greatest highlight. This will establish the pattern
upon which all work will follow;
o Gradually apply color to these by pushing the greatest density of pigment toward

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.

Third stage : application of transparent "puddles" on the garments.


o Mix the color for the garment by adding far more water than egg. This is similar to
the way watercolors look;
o Begin application at a "corner" of the garment with either a medium or large brush
depending on the size of the icon. Make sure the brush if very full of color and
gradually create a puddle of color over the entire area to be colored. Keep the
mixture of the same density throughout the puddle and avoid uneven deposits of
color;
o The pigments and egg will settle leaving water on the surface. Allow this to dry
without touching as the egg and pigment will "lift" if touched. If this happens it
will create a defect that can be repaired only after the entire area is dry;
o Work on a flat surface so the colors will dry evenly. As drying occurs the lines that
may have disappeared will reappear;
o Once dry, gently rub the color with a finger to remove thickness;
o Wash with a very light, 1:1 ratio layer of emulsion;
o Repeat the "puddling" of color two or three times if necessary;
o Allow to dry between layers and rub slightly with your finger after each "puddle";
o To create soft transitions between the colored areas that have to sharp a contrast
either; use the same color with less liquid and apply it in small brush strokes or
cover the entire high-lightened area with a little color in a transparent wash;
o If any holes appear in the painting fill them with a small puddle of the local color.
After the puddle dries, blend by delicately brushing the edges;
o It is possible to give nuance to the applied color and to modify it through glazing.
Mix a small quantity of color in the emulsion and apply the glaze over the
designated area in one pass. Allow this to dry before determining the need for
another glaze. It is important to strive for transparency in the glaze as it will allow
the nuance of the colors underneath to shine through. An example of this is the
"maphorion" or outer garment of the Mother of God. If this garment appears dull
or to "earthy" it can be warmed up with a red glaze. Several transparent glazes may
be applied but care must be taken that the paint doesn't become to thick;
o Retrace the lines of the contours and folds of all the garments. This gives them
strength and crispness;
o Wash the entire area of the garments with a light egg wash before beginning the
next stage.

Fourth stage : garment highlights.


o To mix the highlighting color, mix the local color with a little lead white (toxic)
and a point of titanium. A point is the amount of pigment picked up on the tip of
the brush when it is dipped lightly into the pigment. For reds use a little yellow or
orange, for browns and greens use a little yellow ochre. Make preliminary color
studies;

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

It is sometimes necessary to retrace the final white highlights as they tend to


become absorbed and to lose their strength after drying.
.

Lining with a brush


- Mix a very dry color from red ochre and
a point of black;
- Redraw with the red ochre mix the lines
of the face on the existing drawing;
- If the drawing of the face was engraved,
it is not necessary to redraw the lines of
the face.

- Add more black to the mixture to trace


the eyelids, eyebrows, eyes, pupils, ears,
nostrils, lips and the tip of the nose;
- Also use this same mixture to redraw the
hands and feet;
- The lines are reference marks and
should appear through all the layers of the
sanquir.

The basic sanquir


There are different tones of basic sanquir (proplasmos) and the one that is used should be chosen
according to the school and the century from which the icon you want to interpret is derived.
There are a great variety of sanquirs that are according to the school to which they are attached:

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 first highlights

- Establish the areas to be highlighted.


Preliminary studies on illustration board
or mat board can be done and are very
helpful in understanding the structure of
highlighting. The areas that have the
highest density of color indicate the areas
where the highlights will be more intense.

- If the lines of some features have


disappeared they should be redrawn;
- The color for highlighting should be
mixed with egg tempera and a little water
from one part yellow ochre to two parts
red ochre;
- Apply by "puddling" starting from the
area having the greatest highlight and
extending the color by adding a little
water to the mixture. Then push the brush
back towards the area where the density
of pigment is the greatest.
- Avoid "scraping" the background or
"lifting" the pigment;
- Allow the "puddle" to dry completely.
- Blend any uneven areas by taking a little
of the highlighting color and mixing it
with egg tempera. Softly brush the
pigment over the entire area that is
highlighted. The object is to obtain a
progressive gradation of color. Do this
work with a very dry brush;
- If pigment is "lifted" creating a hole in
the color, correct this with a small puddle
of the basic "sanquir" color dropped into
the precise area of the hole. Highlight
over the "sanquir" and blend with delicate
dry brushing.

The second highlights

- Prepare a 1:1 mixture of red and yellow


ochre. Make another "puddle" that
reduces the surface of the highlighted
area;
- Allow the "puddle" to dry completely;
- Brush the area with a mixture of egg
tempera and a little of the highlighting
mixture;
- Reline the eyes, eyebrows, eyes, tip of
the nose, and outer line of the hair with a
mixture of Burnt Sienna, a little black and
red. Make this mixture quite dry.

The last highlights


The desired final look of the face determines the number of the following highlights and their
intensity.
In general, avoid noticeable transitions between the successive highlighting layers.
Use titanium white sparingly and mix it with lead white (toxic) that is transparent and allows for
soft transitions between the layers.
Alternate smaller and smaller "puddled" areas with delicate brushing. Some icon painters apply
the final brushed layers by dry brushing and stumping. Do this with egg tempera that is quite dry.
In the end the faces may appear to be bleached. It is possible to correct this with a red ochre glaze
over the whole face. This will give it life again. Be careful when laying down a glaze to not overbrush the area. Rather allow the entire area to dry.
- "Enlivening lines" are fine small white
lines that are placed at precise places on
the face giving light to the face.
- This is a quite dry mix of titanium white
and a little yellow ochre. Do not brush on
these lines. Rather draw them as fine line
so that they remain precise.

In many icons garments are enhanced by fine


golden rays that have the effect of increasing
their radiance and of accentuating the glory of
the person represented.
Assist gilding is a work of precision and the
study of models is indispensable before
beginning it. Here are some models that could
help you with your sketches:
Vladimirskaya
Christ in Glory (Rublev)
Our Lady of the Passion (Greece)

Mother of God Iakromskaya. Saint Andrew workshop.

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.

Preparation of the sizing


The Assist sizing can be prepared according to three main recipes:

Garlic based sizing:


Take several cloves of garlic and press them to extract their juice. Filter this juice (through
an old sheer stocking for example) and add some red ochre to make apparent the rays of
glue already applied on the icon. This sizing can be preserved for several weeks in the
fridge. Add a little water to find a good consistency before tracing the lines with the brush.

Stout based sizing:

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 preparation of the icon

After having produced a sketch on the location


of the golden lines, prepare a yellow ochre or a
white lead color with a little emulsion and trace
out the rays of the assist.

- When the yellow ochre or white lead lines are


dry enough, the second operation consists in
slightly powdering with talcum the areas around
the gold assist. It is absolutely necessary to
protect the painting - tempera remains greasy
and sticky - because it is very difficult, even
impossible to remove the small particles of gold
leaf that could settle on it during the application
of the Assist.

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.

- Apply the gold leaf pressing slightly with your


finger on each sized area.
- If drying has advanced too much using the
garlic or the stout based glues, just moisten the
lines with your own breath: this will "awake" the
glue.

- Use a ball made from the soft part of black


bread (preferable to the soft part of white bread)
to dab the gold leaf and make it stick. Don't
press too hard because of the risks of flattening.

- When the gold leaf is very dry (wait about 20


min.) smooth it with some wadding cotton: this
operation also has the effect of removing the
extra gold as well as the talcum. If it is not
sufficiently smooth, use a very soft brush to
complete this operation. Smoothing with cotton
has to be done very delicately.
- Gold lines have a certain thickness, and once
smoothed well, they will shine brilliantly.

- Protect the golden rays by brushing on a


solution of half bleached shellac / half 90%
alcohol.
- To remove any trace of talcum at the end, it is
recommended that a layer of emulsion with 50%
water is brushed on the whole surface of the icon

Background, halos and frames


Although the background of many icons are gilded it is also possible to use color for the
background. Use either a transparent and diluted mixture of yellow ochre, or an opaque color such
as Naples yellow diluted slightly with either yellow ochre or Veronese green. Zinc oxide mixed
with a little yellow ochre is another possibility along with others. Test your mixture before
applying by the puddling technique.
A red line is traced around the outer edge
of the halo and a red line is drawn on the
outer edge of the frame. This should be a
darkened red and a ruler can be used to
trace the line along the outer edge.

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 edge of the icon


- If the edge of the icon has been coated
with gesso (levkas), it should be painted
with dark red (red ochre or burned Sienna
mixed with a little black), or with another
dark color that harmonizes with the hues
of the icon.
- If this edge is in its natural wood state,
clean it well and protect it with a
commercial varnish.

The final varnish


After the painting of the icon is finished, allow three months at least for the egg tempera layer to
solidify before varnishing it.

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.

White egg varnish


o Beat an egg white until it is stiff and can be cut with a knife. To this add a glass of
water and cover until the next day. Pour the liquid at the bottom into another
container. This is the varnish.
o Properly speaking, egg white varnish is not an actual varnish, but a film that both
unifies the the different degrees of dullness in the colors and protects the surface
from the air. It is used as a protector for the icon when the varnishis to be added
later. The egg tempera takes on greater brilliance as the egg solidifies. This egg
white is sufficient to protect a painting and as many layers as one wishes may be
applied. Also one can paint over the egg varnish.
o Allow the icon to dry for about a month before varnish it with the egg white. To
apply the varnish, soak a broad flexible brush in the liquid. Wipe off any excess
and apply a uniform thin layer over the painting.
o Apply two or three layers until a semi-brillant uniform quality is obtained. Do not
put egg white on the gilded parts of the icon.
o If a painting has been in a humid environment during a long time after it is finished
it is possible that moldwill form. To remove, simply wipe the mold off with a soft
brush and apply final varnish.

The synthetic water varnish

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.

The shellac varnish


o

It is possible to varnish the icon with a diluted mixture of shellac. Simply mix the
shellac with thirty-percent ninety proof alcohol.

Choose the stage and click...

Drawing research

Transfer the drawing

Engraving and gilding

Drawing with the brush

The basic sanquir

Lining with a brush

The second highlights

The second highlights

Finishing the icon

The last highlights

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