| All rights reserved. |
Betsy Porter
Art and Iconography
PAINTING AND HIGHLIGHTING YOUR ICON
Art and Iconography
PAINTING AND HIGHLIGHTING YOUR ICON
Demonstration pieces by
Nikita Andrejev
First and second
highlights on face and
clothing
Nikita Andrejev
First and second
highlights on face and
clothing
Saint Peter with first highlight, third highlight, and finished icon.
To liven up Saint Peter's brown robe, the first and second highlights are
pink (same as flesh) and the third highlight is pastel yellow-green (same as
blue robe).
To liven up Saint Peter's brown robe, the first and second highlights are
pink (same as flesh) and the third highlight is pastel yellow-green (same as
blue robe).
Your icon is now ready for its Finishing Touches
and its Inscriptions
Back to Home Page
Back to Roskrish or Base Colors
Back to Color Recipes
Back to Main Technical Page
and its Inscriptions
Back to Home Page
Back to Roskrish or Base Colors
Back to Color Recipes
Back to Main Technical Page
First highlight on a small icon
of Christ the Teacher; and
the finished icon.
The first highlight establishes
basic volumes and bright areas.
Note the dark margin of the
figure, without highlights.
In the later highlights, the figure
will become much more detailed
and refined. Floats will brighten
the colors, and skin tones will
gradually become more lifelike.
of Christ the Teacher; and
the finished icon.
The first highlight establishes
basic volumes and bright areas.
Note the dark margin of the
figure, without highlights.
In the later highlights, the figure
will become much more detailed
and refined. Floats will brighten
the colors, and skin tones will
gradually become more lifelike.
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THE LIGHT OF AN ICON seems to come both from within the holy person in heaven, and from
outside it. As you work on the layers of highlights, consider the meaning and function of each,
as well as the shadows which help delineate and sculpt the figure. The completed icon should
glow, not only with the many lights of creation, but with the “uncreated light” within, the light
which showed itself in Jesus at the Transfiguration.
outside it. As you work on the layers of highlights, consider the meaning and function of each,
as well as the shadows which help delineate and sculpt the figure. The completed icon should
glow, not only with the many lights of creation, but with the “uncreated light” within, the light
which showed itself in Jesus at the Transfiguration.
FIRST HIGHLIGHT is the "light of nature" or the “cosmic highlight,” representing the natural light of the universe,
and bringing order to the Chaos. It is relatively naturalistic, coming from in front, slightly above and to one side.
The first highlight reveals the basic sculptural shape of the figure, and serves as supportive under-
painting for the smaller and livelier second and third highlights to follow.
The first highlight should cover approximately 2/3 of the figure. To make it bright enough and smooth enough, I
usually apply 2 or even 3 coats of first highlight. Each highlight color must contain enough white to stand out from
its roskrish and show through several subsequent layers or "floats" of dilute paint.
The nearer to the viewer, the more strongly that part is highlighted. Do not lose your shadows! The figure should
stand out strongly against its background, so leave the edges of the figure dark, without highlights.
Work for precision, but don’t be compulsive, because there are many layers ahead. When completed, the first
highlight may look awkward and crude! Don’t be discouraged; you’re just roughing out the shape of the figure. If
your highlight has spread excessively, paint and blend shadows back in with your roskrish or a similar dark color.
and bringing order to the Chaos. It is relatively naturalistic, coming from in front, slightly above and to one side.
The first highlight reveals the basic sculptural shape of the figure, and serves as supportive under-
painting for the smaller and livelier second and third highlights to follow.
The first highlight should cover approximately 2/3 of the figure. To make it bright enough and smooth enough, I
usually apply 2 or even 3 coats of first highlight. Each highlight color must contain enough white to stand out from
its roskrish and show through several subsequent layers or "floats" of dilute paint.
The nearer to the viewer, the more strongly that part is highlighted. Do not lose your shadows! The figure should
stand out strongly against its background, so leave the edges of the figure dark, without highlights.
Work for precision, but don’t be compulsive, because there are many layers ahead. When completed, the first
highlight may look awkward and crude! Don’t be discouraged; you’re just roughing out the shape of the figure. If
your highlight has spread excessively, paint and blend shadows back in with your roskrish or a similar dark color.
First highlight on the face, throat, and other flesh areas: In your watercolor palette, mix 3 little cups of paint -
full-strength bright salmon pink mix (white, yellow ochre, earth orange), a diluted version of the same salmon pink
mix in 2 drops of egg base and 5 drops water, and clear untinted mix of 2 drops egg base with 5 drops water. You
can now blend full-strength paint into dilute paint, and dilute paint into clear mix, for gradual shading. Practice this
blending and shading on paper.
Start with the eye area, being careful to keep highlights symmetrical. Paint a bright spot at the inner corner of each
eye; then a bright eyelid line just above the black line of the upper eyelashes. Optionally, paint a dilute
crescent-shaped highlight in the area between upper eyelid and eyebrow.
Paint bright edges on the upper cheeks, neatly delineating the shadows under the eyes. (Older saints and grieving
saints may have a dark trace of tears, running down the cheek from the eyes.) Using dilute paint, blend wet paint
out onto the cheek. Continue dilute paint down the center of the cheeks, out towards a rounded outside edge, and
down into the complex shapes of the lower face. Blend in at outer edge with clear mix. This process is like applying
makeup to your own face! For a large face, you may paint and blend with a sponge-tipped eye-shadow applicator
rather than a brush. One side of the face should be noticeably brighter than the other.
Paint bright lines on the brow ridges, and blend up. Paint a bright spot high on the forehead, and blend out. Paint
a bright triangle or V-shape at the top of the nose; then a bright line down the shaft of the nose, a bright oval at the
tip of the nose, and a smaller bright spot on each nostril. Highlight the lower lip, but only half the length of the
shadowed upper lip. Paint a small bright spot on the chin, and blend out. Highlight a hook shape on each ear lobe.
Paint the bright edge of the shadow under the jaw, then blend down and outward onto the throat. This highlight will
extend up toward the ear, but its brightest spot is in the center. Paint the bright edge of the collar bone, fading out
at the ends. Paint a bright spot under the collar bone on each side. Blend out and down.
Hands carry the gesture and intent of the holy figure. They should be gracefully formed and may be quite
stylized. In historic icons, you will see a variety of highlighting styles for hands. Paint a bright spot on each
fingernail; then a bright line under the fingernail. Now paint the lines of the fingers; then out into the hands and
wrists. There will be several bright spots, such as the heel of the thumb. Blend these in where possible. Feet and
other flesh areas are highlighted similarly.
full-strength bright salmon pink mix (white, yellow ochre, earth orange), a diluted version of the same salmon pink
mix in 2 drops of egg base and 5 drops water, and clear untinted mix of 2 drops egg base with 5 drops water. You
can now blend full-strength paint into dilute paint, and dilute paint into clear mix, for gradual shading. Practice this
blending and shading on paper.
Start with the eye area, being careful to keep highlights symmetrical. Paint a bright spot at the inner corner of each
eye; then a bright eyelid line just above the black line of the upper eyelashes. Optionally, paint a dilute
crescent-shaped highlight in the area between upper eyelid and eyebrow.
Paint bright edges on the upper cheeks, neatly delineating the shadows under the eyes. (Older saints and grieving
saints may have a dark trace of tears, running down the cheek from the eyes.) Using dilute paint, blend wet paint
out onto the cheek. Continue dilute paint down the center of the cheeks, out towards a rounded outside edge, and
down into the complex shapes of the lower face. Blend in at outer edge with clear mix. This process is like applying
makeup to your own face! For a large face, you may paint and blend with a sponge-tipped eye-shadow applicator
rather than a brush. One side of the face should be noticeably brighter than the other.
Paint bright lines on the brow ridges, and blend up. Paint a bright spot high on the forehead, and blend out. Paint
a bright triangle or V-shape at the top of the nose; then a bright line down the shaft of the nose, a bright oval at the
tip of the nose, and a smaller bright spot on each nostril. Highlight the lower lip, but only half the length of the
shadowed upper lip. Paint a small bright spot on the chin, and blend out. Highlight a hook shape on each ear lobe.
Paint the bright edge of the shadow under the jaw, then blend down and outward onto the throat. This highlight will
extend up toward the ear, but its brightest spot is in the center. Paint the bright edge of the collar bone, fading out
at the ends. Paint a bright spot under the collar bone on each side. Blend out and down.
Hands carry the gesture and intent of the holy figure. They should be gracefully formed and may be quite
stylized. In historic icons, you will see a variety of highlighting styles for hands. Paint a bright spot on each
fingernail; then a bright line under the fingernail. Now paint the lines of the fingers; then out into the hands and
wrists. There will be several bright spots, such as the heel of the thumb. Blend these in where possible. Feet and
other flesh areas are highlighted similarly.
First highlight on hair and beard is full strength, the same color as flesh. Use your smallest brush to paint bright
lines between previously-painted black lines. This is fun, all the parallel waves and double spirals, bringing out the
energy of the holy figure! Each curl should have a bright spot in the center.
First highlight on gold trim is full strength light gold, just edges and primary shapes. (Details will follow in
second and third highlights.)
First highlight on angel wings is full strength. Paint edges of larger feathers under the dark line, and small rays
of light shining out from under the feathers. At the top of the wing, paint a small bright oval or “well” of light. Now
paint lines radiating out from this point, in sets of 3 or 4 parallel lines. On inner wings, paint the bright edges of a
few tiny feathers.
lines between previously-painted black lines. This is fun, all the parallel waves and double spirals, bringing out the
energy of the holy figure! Each curl should have a bright spot in the center.
First highlight on gold trim is full strength light gold, just edges and primary shapes. (Details will follow in
second and third highlights.)
First highlight on angel wings is full strength. Paint edges of larger feathers under the dark line, and small rays
of light shining out from under the feathers. At the top of the wing, paint a small bright oval or “well” of light. Now
paint lines radiating out from this point, in sets of 3 or 4 parallel lines. On inner wings, paint the bright edges of a
few tiny feathers.
First highlight on garments will require both full-strength and dilute paint.
Leave the outside edge of the figure in shadow. Toward the bottom of the figure,
highlights will fade out. Use only dilute highlights, or none at all, in areas to receive
final details – such as the area behind the golden fringes that often adorn Mary’s
shawl.
Typical garments for icon figures consist of a loose long-sleeved tunic, often
gathered into an ornamented or quilted neck band and cuffs, plus an outer wrap or
cloak of contrasting color. The outer garment is a long rectangle, first anchored
around the waist for a cummerbund-like effect, then wrapped over and around the
left shoulder, around the waist a second time, and up over the left shoulder again,
to end in a graceful drape. It covers the left arm, and may cover the right shoulder
and all or part of the right arm. Like a modern sari, it can be wrapped and draped
in a variety of fashions. The waist wrap may be shown as a separate piece of
cloth, in a third color.
In pre-industrial times, cloth was precious! Garments had to be woven and then
sewn by hand, from hand-spun yarn, from home-grown flax or the wool of one’s
own sheep. Dye was expensive, so brightly colored clothing was doubly valued.
The artists of ancient and medieval times gave passionate attention to rendering
the folds, billows, and shadows that appear in loosely draped cloth.
Observe the structures of folds and shadows that appear in your own clothes. Put
on a large shawl or a soft throw, and look in a mirror to observe its folds, shadows,
and highlights. Notice that the inner folds appear as dark lines, surrounded by
brighter lines in higher areas. You may notice low ridges and valleys stretching
diagonally between principal folds, on the bias of the weave. In an icon, these
physical structures become expressively stylized.
Keep in mind the body under the garments, and the way that loose cloth falls and
moves over and around the body's shapes. Get an adjustable doll or wooden art
figure and drape it in soft solid color cloth. Look at photographs and at historic
icons for other models.
Leave the outside edge of the figure in shadow. Toward the bottom of the figure,
highlights will fade out. Use only dilute highlights, or none at all, in areas to receive
final details – such as the area behind the golden fringes that often adorn Mary’s
shawl.
Typical garments for icon figures consist of a loose long-sleeved tunic, often
gathered into an ornamented or quilted neck band and cuffs, plus an outer wrap or
cloak of contrasting color. The outer garment is a long rectangle, first anchored
around the waist for a cummerbund-like effect, then wrapped over and around the
left shoulder, around the waist a second time, and up over the left shoulder again,
to end in a graceful drape. It covers the left arm, and may cover the right shoulder
and all or part of the right arm. Like a modern sari, it can be wrapped and draped
in a variety of fashions. The waist wrap may be shown as a separate piece of
cloth, in a third color.
In pre-industrial times, cloth was precious! Garments had to be woven and then
sewn by hand, from hand-spun yarn, from home-grown flax or the wool of one’s
own sheep. Dye was expensive, so brightly colored clothing was doubly valued.
The artists of ancient and medieval times gave passionate attention to rendering
the folds, billows, and shadows that appear in loosely draped cloth.
Observe the structures of folds and shadows that appear in your own clothes. Put
on a large shawl or a soft throw, and look in a mirror to observe its folds, shadows,
and highlights. Notice that the inner folds appear as dark lines, surrounded by
brighter lines in higher areas. You may notice low ridges and valleys stretching
diagonally between principal folds, on the bias of the weave. In an icon, these
physical structures become expressively stylized.
Keep in mind the body under the garments, and the way that loose cloth falls and
moves over and around the body's shapes. Get an adjustable doll or wooden art
figure and drape it in soft solid color cloth. Look at photographs and at historic
icons for other models.
FIRST FLOAT: After the first highlight has set up overnight, mix paint for "floats" which are very light washes of
intense color. The highlights glow through the float colors, and the roskrish gains depth and subtlety.
After mixing pigment and egg tempera base to the desired color, dilute it with distilled water and test on white paper.
The color should be very dilute. Two or even three light floats are much preferable to one heavy float.
With a medium-size soft round brush, apply a float to each color area, right over the entire roskrish and lines and
first highlights. Keep the brush wet and work it lightly in little circles, barely touching the surface of the icon, and
forming a shallow puddle of float paint on each area. To avoid leaking between colors, let each color dry before
working on adjacent areas. When first coat is dry, apply a second coat. Also float the background color, using
partially diluted paint, in a tone slightly different from the color under it.
intense color. The highlights glow through the float colors, and the roskrish gains depth and subtlety.
After mixing pigment and egg tempera base to the desired color, dilute it with distilled water and test on white paper.
The color should be very dilute. Two or even three light floats are much preferable to one heavy float.
With a medium-size soft round brush, apply a float to each color area, right over the entire roskrish and lines and
first highlights. Keep the brush wet and work it lightly in little circles, barely touching the surface of the icon, and
forming a shallow puddle of float paint on each area. To avoid leaking between colors, let each color dry before
working on adjacent areas. When first coat is dry, apply a second coat. Also float the background color, using
partially diluted paint, in a tone slightly different from the color under it.
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On gold brocade and trim, paint ornamental patterns. For an all-over brocade pattern, try leaves or flowers or
spirals, and then fill in between them with little circles and dots. For braid trim, I often use a row of small bright dots.
On diamond quilting, highlight half of the previously highlighted half; one-quarter of each diamond segment.
On hands and face and throat, second highlight blends into and strengthens the first highlight. Do not apply
second or third highlight inside the eye socket area.
On hair, highlight only the strands and curls nearest the face, and a small dot in the center of each curl.
On angel wings, pick out a few of the first highlights to emphasize. Brighten up the top of the wings, and some of the
light that shines out from under the feathers.
SECOND FLOAT: The second float, in a brighter and purer tone than the first, softens the highlights.
spirals, and then fill in between them with little circles and dots. For braid trim, I often use a row of small bright dots.
On diamond quilting, highlight half of the previously highlighted half; one-quarter of each diamond segment.
On hands and face and throat, second highlight blends into and strengthens the first highlight. Do not apply
second or third highlight inside the eye socket area.
On hair, highlight only the strands and curls nearest the face, and a small dot in the center of each curl.
On angel wings, pick out a few of the first highlights to emphasize. Brighten up the top of the wings, and some of the
light that shines out from under the feathers.
SECOND FLOAT: The second float, in a brighter and purer tone than the first, softens the highlights.
THIRD HIGHLIGHT: A third highlight symbolizes the Theocosm, the spiritual or angelic light. It is much
smaller than previous highlights, reinforcing and embellishing them. With the third highlight, the icon
gains noticeable clarity and sparkle. Emphasize the gesture, line, and movement of the figure.
On clothing, you will see the third highlight bouncing and skittering down the folds of cloth in a syncopated rhythm.
Again, emphasize areas nearest the face, and areas (such as sleeves) nearest the viewer. And once again, leave a
non-highlighted strip around the edge of the figure. The third highlight may be a different color from the second.
On gold brocade and trim, use your tiniest brush to pick out some of those exquisite small details. (This Byzantine
fashion design can be fun!) Add a spot of brightness to jewels and to each segment of diamond quilting.
On flesh areas, highlight only the closest and most important features - small bright areas at the top of the cheeks
under the eye sockets, brow ridges, center of forehead, bottom of ear lobe. Highlight the nose in 3 separate parts -
the triangle or "V" shape at the top, a line down the center shaft, a bright bulb at the bottom. Highlight the brightest
parts of the throat and hands similarly.
On angel wings, use that tiny brush to emphasize a few of the most important highlights.
Third highlights on hair are usually closest to the face. Pick the center spiral of your favorite curls and the inner
edges of your favorite waves. If you are painting adult Jesus, his hair should not necessarily receive a third highlight.
smaller than previous highlights, reinforcing and embellishing them. With the third highlight, the icon
gains noticeable clarity and sparkle. Emphasize the gesture, line, and movement of the figure.
On clothing, you will see the third highlight bouncing and skittering down the folds of cloth in a syncopated rhythm.
Again, emphasize areas nearest the face, and areas (such as sleeves) nearest the viewer. And once again, leave a
non-highlighted strip around the edge of the figure. The third highlight may be a different color from the second.
On gold brocade and trim, use your tiniest brush to pick out some of those exquisite small details. (This Byzantine
fashion design can be fun!) Add a spot of brightness to jewels and to each segment of diamond quilting.
On flesh areas, highlight only the closest and most important features - small bright areas at the top of the cheeks
under the eye sockets, brow ridges, center of forehead, bottom of ear lobe. Highlight the nose in 3 separate parts -
the triangle or "V" shape at the top, a line down the center shaft, a bright bulb at the bottom. Highlight the brightest
parts of the throat and hands similarly.
On angel wings, use that tiny brush to emphasize a few of the most important highlights.
Third highlights on hair are usually closest to the face. Pick the center spiral of your favorite curls and the inner
edges of your favorite waves. If you are painting adult Jesus, his hair should not necessarily receive a third highlight.
Left; third highlight on clothing,
trim, and hands.
Right; detail of a finished icon,
showing the complex layering of
highlights in different pastel tints.
The first and second highlights
on the monastic robe are pinkish
and the third highlight is light
blue-green.
trim, and hands.
Right; detail of a finished icon,
showing the complex layering of
highlights in different pastel tints.
The first and second highlights
on the monastic robe are pinkish
and the third highlight is light
blue-green.
For first highlight, use full strength paint to make a bright line following around the outside of each set of the spiral
branching dark lines which represent deep folds. Leave a small gap between dark line and highlight. At the end of
a dark line, hook the bright line around, back into the next point where 2 dark lines branch out. Try to make these
points sharp. Now fill in the triangular area between branches, using dilute paint.
Also highlight the collar, near the face. Highlight sleeves, since they are nearest the viewer. Highlight shoulders,
elbows, and knees with a bright spot, blended out, and surrounded by a small spiraling set of folds. Highlight
cascades and billows of cloth, including the tiny sparkling points at the bottom of their folds. If certain areas seem
to need additional visual interest, add more folds and highlights, echoing and paralleling those previously painted.
These highlights should have a rhythmic quality, and some motifs may repeat.
At diamond quilting, highlight the top half of each diamond-shaped segment.
branching dark lines which represent deep folds. Leave a small gap between dark line and highlight. At the end of
a dark line, hook the bright line around, back into the next point where 2 dark lines branch out. Try to make these
points sharp. Now fill in the triangular area between branches, using dilute paint.
Also highlight the collar, near the face. Highlight sleeves, since they are nearest the viewer. Highlight shoulders,
elbows, and knees with a bright spot, blended out, and surrounded by a small spiraling set of folds. Highlight
cascades and billows of cloth, including the tiny sparkling points at the bottom of their folds. If certain areas seem
to need additional visual interest, add more folds and highlights, echoing and paralleling those previously painted.
These highlights should have a rhythmic quality, and some motifs may repeat.
At diamond quilting, highlight the top half of each diamond-shaped segment.
"Saint Redmond" models
a silk scarf - somewhat
oversized for him.
a silk scarf - somewhat
oversized for him.
Highlighting on garments. Note spiraling
treatment of folds, especially around high
points near knees and at forearms. Also
note the many little pleats, billows, and
cascades of cloth.
treatment of folds, especially around high
points near knees and at forearms. Also
note the many little pleats, billows, and
cascades of cloth.
Let your roskrish layer set up at least overnight, and preferably longer, before you
start your highlights! Do not overwork the blending. It is better to blend a bit
unevenly, than to scrub off the roskrish by attempting to blend highlights perfectly.
start your highlights! Do not overwork the blending. It is better to blend a bit
unevenly, than to scrub off the roskrish by attempting to blend highlights perfectly.
Left; Anne Symanovich has completed second
highlight on her icon of St. Francis. The figure of
the saint is well delineated, and now she is
developing the background landscape.
Right; third highlight on Lori Greenleaf's icon of
Archangel Michael is almost complete. The
green garment still needs its third highlight. The
lower face is over-highlighted but can be easily
toned down with a float of dark ochre. Hair,
wings, red garment, hands, and gold trim are
nicely highlighted and easy to "read" at a
distance.
highlight on her icon of St. Francis. The figure of
the saint is well delineated, and now she is
developing the background landscape.
Right; third highlight on Lori Greenleaf's icon of
Archangel Michael is almost complete. The
green garment still needs its third highlight. The
lower face is over-highlighted but can be easily
toned down with a float of dark ochre. Hair,
wings, red garment, hands, and gold trim are
nicely highlighted and easy to "read" at a
distance.
Left; Randy Bowman's icon of Saint Stephen has
received its first highlight, and will be ready for
the first float as soon as the paint sets up.
Right; Sister Danielle Fung has completed the
third highlight and third float on her icon of The
Holy Silence, and now she is working on
re-drawing the dark lines.
Below left; Jennifer Blecha has completed first
highlight and first float on her icon of the poet
Rumi. Floats of intense blue and off-white clarify
the inner image. Jen is in process of lightening
the dark brown border, which will later receive
the inscription of a beloved poem by Rumi.
Below right; Carolyn Feuille is almost finished
with her icon of Mary. While waiting for the paint
to set up on the face, she has painted a floral
border and corner decorations, enhancing the
feminine quality of this icon.
received its first highlight, and will be ready for
the first float as soon as the paint sets up.
Right; Sister Danielle Fung has completed the
third highlight and third float on her icon of The
Holy Silence, and now she is working on
re-drawing the dark lines.
Below left; Jennifer Blecha has completed first
highlight and first float on her icon of the poet
Rumi. Floats of intense blue and off-white clarify
the inner image. Jen is in process of lightening
the dark brown border, which will later receive
the inscription of a beloved poem by Rumi.
Below right; Carolyn Feuille is almost finished
with her icon of Mary. While waiting for the paint
to set up on the face, she has painted a floral
border and corner decorations, enhancing the
feminine quality of this icon.
SECOND HIGHLIGHT: A smaller second highlight represents the
Anthropos, the enlivening light of human intellect and culture.
The second highlight should cover only about half of the first highlight. Work for
increased precision and detail. Use a fine brush to sharpen up the little corners of
the first highlight. At left is second highlight on a small icon of Saint Andrew.
On clothing, the second highlight takes the form of a stylized and spiritualized
rendition of the small wrinkles and bias folds that occur in draped cloth. It cuts
diagonally across the first highlight, often as a series of irregularly spaced
parallel lines and trapezoids, producing crystalline cubist-like effects; and
suggesting that the saint inhabits a spiritual dimension.
Larger first highlights may be subdivided into two or more angular second
highlights. Although the second highlight should be brighter than the first, it does
not necessarily have to be a similar color. It need not stay within the boundaries of
the first highlight; but should not cross the dark lines. Again, leave a dark strip at
the edge of the figure, without highlights.
Anthropos, the enlivening light of human intellect and culture.
The second highlight should cover only about half of the first highlight. Work for
increased precision and detail. Use a fine brush to sharpen up the little corners of
the first highlight. At left is second highlight on a small icon of Saint Andrew.
On clothing, the second highlight takes the form of a stylized and spiritualized
rendition of the small wrinkles and bias folds that occur in draped cloth. It cuts
diagonally across the first highlight, often as a series of irregularly spaced
parallel lines and trapezoids, producing crystalline cubist-like effects; and
suggesting that the saint inhabits a spiritual dimension.
Larger first highlights may be subdivided into two or more angular second
highlights. Although the second highlight should be brighter than the first, it does
not necessarily have to be a similar color. It need not stay within the boundaries of
the first highlight; but should not cross the dark lines. Again, leave a dark strip at
the edge of the figure, without highlights.
At right, from Dmitri Andrejev, is a study in white
pencil on black paper, showing highlights for an
angel. If you have not highlighted a face before,
trace or xerox your drawing onto dark paper, and
practice highlights for your icon with white paint or
white pencil.
The lights and shadows form a rhythmic unity,
spiraling about the face and down onto the throat
and clothing. The shadow under the brows flows
smoothly, in a continuous curve, into the shadow
under the jaw line.
Similarly, the light on the nearer cheek curves
smoothly down from cheekbone to chin. The
complex shape of this highlight is worthy of close
study. Note that it comes in toward the upper lip,
then just to the corner of the lower lip, and ends up
in a bright spot on the chin. At its outer edge, it
blends gradually into shadow.
The light on the farther cheek is much simpler, a
long curved triangle extending down from the eye.
Note especially the shape and highlighting of the
mouth. The upper lip remains in shadow, while the
lower lip is strongly highlighted. A small but carefully
shaped shadow remains under the lower lip.
pencil on black paper, showing highlights for an
angel. If you have not highlighted a face before,
trace or xerox your drawing onto dark paper, and
practice highlights for your icon with white paint or
white pencil.
The lights and shadows form a rhythmic unity,
spiraling about the face and down onto the throat
and clothing. The shadow under the brows flows
smoothly, in a continuous curve, into the shadow
under the jaw line.
Similarly, the light on the nearer cheek curves
smoothly down from cheekbone to chin. The
complex shape of this highlight is worthy of close
study. Note that it comes in toward the upper lip,
then just to the corner of the lower lip, and ends up
in a bright spot on the chin. At its outer edge, it
blends gradually into shadow.
The light on the farther cheek is much simpler, a
long curved triangle extending down from the eye.
Note especially the shape and highlighting of the
mouth. The upper lip remains in shadow, while the
lower lip is strongly highlighted. A small but carefully
shaped shadow remains under the lower lip.
At left, from Dmitri Andrejev, is a study in light-colored
and white paint on dark gray paper, showing stylized
first and second highlights on cloth draped over a
shoulder and arm.
Just as with facial highlights, note the location and flow
of bright areas and shadows. The shadows are just as
important as highlights in "sculpting" the figure and its
elegantly draped garments. Highlights and shadows
should be executed with equal care and precision.
The shoulder, collar, and forearm are "hot spots" which
receive the brightest highlighting. Shadows remain
along the lines and to the rear of the arm and shoulder.
The edge of the sleeve turns back to form a cuff, home
to a strong triangular highlight. The collar fold is
highlighted to help draw attention to the saint's face.
On the shoulder and forearm, note that secondary
spiraling wrinkles were added as part of the second
highlight. There were no lines here on the original
drawing, but these second highlights follow imaginary
lines that echo the stronger lines guiding the first
highlight.
and white paint on dark gray paper, showing stylized
first and second highlights on cloth draped over a
shoulder and arm.
Just as with facial highlights, note the location and flow
of bright areas and shadows. The shadows are just as
important as highlights in "sculpting" the figure and its
elegantly draped garments. Highlights and shadows
should be executed with equal care and precision.
The shoulder, collar, and forearm are "hot spots" which
receive the brightest highlighting. Shadows remain
along the lines and to the rear of the arm and shoulder.
The edge of the sleeve turns back to form a cuff, home
to a strong triangular highlight. The collar fold is
highlighted to help draw attention to the saint's face.
On the shoulder and forearm, note that secondary
spiraling wrinkles were added as part of the second
highlight. There were no lines here on the original
drawing, but these second highlights follow imaginary
lines that echo the stronger lines guiding the first
highlight.
HIGHLIGHTING by
VLADISLAV ANDREJEV
Left; first and second highlights for
St. John the Baptist, depicted with
wings as "Angel of the Desert."
Right; completed highlights on
Jesus' shoulder drapery.
It takes many years of practice to
attain this degree of mastery!
Vladislav's work is distinguished by
the highly developed, facet-like
second highlights on the garments.
Like looking into the depths of a
crystal, it suggests the presence of
other dimensions.
VLADISLAV ANDREJEV
Left; first and second highlights for
St. John the Baptist, depicted with
wings as "Angel of the Desert."
Right; completed highlights on
Jesus' shoulder drapery.
It takes many years of practice to
attain this degree of mastery!
Vladislav's work is distinguished by
the highly developed, facet-like
second highlights on the garments.
Like looking into the depths of a
crystal, it suggests the presence of
other dimensions.
THIRD FLOAT: Apply the third float, using brightest and purest pigments, mixed more dilute than first and second
floats. Apply lightly for two or even three applications. The surface vibrates with subtly shifting colors.
Check skin tones. Unless your saint is depicted in the throes of grief or martyrdom, go for a healthy and even
slightly ruddy look, just short of a blush. If the skin looks sallow, pallid, or yellowish, give all the flesh areas (including
hands and throat as well as face) a light float of vermilion or earth orange. Tone down an excessive blush with a
light float of gold ochre.
REPAINTING OF LINES: Repaint the lines with a fine brush, in a darker color to complement the color of each area.
Use black for the eyebrows, upper eyelids, and pupils of the eyes, and for the lines around the iris. All other flesh
lines are dark red. Lines will cover up messy edges and may be used to refine the initial drawing.
floats. Apply lightly for two or even three applications. The surface vibrates with subtly shifting colors.
Check skin tones. Unless your saint is depicted in the throes of grief or martyrdom, go for a healthy and even
slightly ruddy look, just short of a blush. If the skin looks sallow, pallid, or yellowish, give all the flesh areas (including
hands and throat as well as face) a light float of vermilion or earth orange. Tone down an excessive blush with a
light float of gold ochre.
REPAINTING OF LINES: Repaint the lines with a fine brush, in a darker color to complement the color of each area.
Use black for the eyebrows, upper eyelids, and pupils of the eyes, and for the lines around the iris. All other flesh
lines are dark red. Lines will cover up messy edges and may be used to refine the initial drawing.
