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Betsy Porter
Art and Iconography
HOW TO LAY OUT YOUR ICON ON ITS BOARD
Art and Iconography
HOW TO LAY OUT YOUR ICON ON ITS BOARD
When layout is complete, your
icon is ready for Gilding
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Back to Main Technical Page
icon is ready for Gilding
Back to Home Page
Back to Main Technical Page
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Randy Bowman laying out
his icon; about ready to
trace the design onto the
board.
his icon; about ready to
trace the design onto the
board.
Select an icon you would like to paint. If this is your first icon, choose a
half-figure (waist up) or head of a saint or angel. You will need a pattern drawing,
such as the one shown above - or xerox a design from a book, card, or calendar.
A web search will turn up more images. If you are painting a modern saint, use a
cherished photograph. Both eyes and at least one ear should be visible.
Select a board or panel of proportions to fit your pattern. (See below).
Unwrap your board. Which way is up? Try balancing the board first on one end,
then on the other. If it balances better on one end, that is the most solid base.
Xerox the drawing to the correct size for the board. When properly sized,
the top of the saint's head should come exactly to the top of the flat part of the
recess ("kovcheg" or "ark") in a sculpted board, without cutting off any lower parts
of the drawing.
On a flat panel, position the figure in such a way as to leave 3/8 to 5/8 inch
between the top of the halo and the top of the panel.
Draw guide lines, using a ruler and a light pencil line. I prefer a "non-photo blue"
pencil. Draw a line on each side, a scant 1/8 inch in from the edge, the limit for
the red clay bole that covers the edge.
If you want a wide border in a contrasting color, draw lines to delineate its edges.
On a sculpted board, the border will come to the outer edge of the recess
(Kovcheg, covcheg, or "ark"). On a flat panel, you have more choice; the border
may be the same width all around, or top and bottom borders may be wider than
side borders. Extend these light guide lines to the edge of the board.
half-figure (waist up) or head of a saint or angel. You will need a pattern drawing,
such as the one shown above - or xerox a design from a book, card, or calendar.
A web search will turn up more images. If you are painting a modern saint, use a
cherished photograph. Both eyes and at least one ear should be visible.
Select a board or panel of proportions to fit your pattern. (See below).
Unwrap your board. Which way is up? Try balancing the board first on one end,
then on the other. If it balances better on one end, that is the most solid base.
Xerox the drawing to the correct size for the board. When properly sized,
the top of the saint's head should come exactly to the top of the flat part of the
recess ("kovcheg" or "ark") in a sculpted board, without cutting off any lower parts
of the drawing.
On a flat panel, position the figure in such a way as to leave 3/8 to 5/8 inch
between the top of the halo and the top of the panel.
Draw guide lines, using a ruler and a light pencil line. I prefer a "non-photo blue"
pencil. Draw a line on each side, a scant 1/8 inch in from the edge, the limit for
the red clay bole that covers the edge.
If you want a wide border in a contrasting color, draw lines to delineate its edges.
On a sculpted board, the border will come to the outer edge of the recess
(Kovcheg, covcheg, or "ark"). On a flat panel, you have more choice; the border
may be the same width all around, or top and bottom borders may be wider than
side borders. Extend these light guide lines to the edge of the board.
If using a recessed board, extend a light pencil line marking the
lower edges of the recess, out to the edge of the board.
For an icon with a symmetrical composition, measure and
draw a vertical line down the center of the entire board, top to
bottom. On your Xerox drawing, draw a corresponding vertical
line. The center of the halo should lie on this line.
Carefully position the drawing on the board. If necessary, trim
edges of the drawing. Draw guide lines corresponding to the
guide lines on your board.
Using a compass with pencil tip, verify that there is room for the
halo. On many drawings, the center of the halo is marked by
an "X." If not, you may need to establish this important point by
trial and error. It's usually at eyebrow level.
When satisfied with the position of the drawing, tape down both
top corners and one bottom corner. Slide a piece of carbon
paper underneath, shiny side down. Carefully trace with a ball
point pen - not too heavy! Start with the eyes, then complete
face and hair, and work outward through the hands, garments,
books and scrolls. Mark the center of the halo with an "X." Do
not trace halo, lettering, spears, globes, or tiny details.
Lift the bottom corner, to verify that you didn't miss anything!
When complete, use a compass with pencil tip to draw the edge
of the halo. Before gilding, this area will be covered with red
clay bole.
lower edges of the recess, out to the edge of the board.
For an icon with a symmetrical composition, measure and
draw a vertical line down the center of the entire board, top to
bottom. On your Xerox drawing, draw a corresponding vertical
line. The center of the halo should lie on this line.
Carefully position the drawing on the board. If necessary, trim
edges of the drawing. Draw guide lines corresponding to the
guide lines on your board.
Using a compass with pencil tip, verify that there is room for the
halo. On many drawings, the center of the halo is marked by
an "X." If not, you may need to establish this important point by
trial and error. It's usually at eyebrow level.
When satisfied with the position of the drawing, tape down both
top corners and one bottom corner. Slide a piece of carbon
paper underneath, shiny side down. Carefully trace with a ball
point pen - not too heavy! Start with the eyes, then complete
face and hair, and work outward through the hands, garments,
books and scrolls. Mark the center of the halo with an "X." Do
not trace halo, lettering, spears, globes, or tiny details.
Lift the bottom corner, to verify that you didn't miss anything!
When complete, use a compass with pencil tip to draw the edge
of the halo. Before gilding, this area will be covered with red
clay bole.
The icons shown above are symmetrical in
composition. When laying them out, draw
a light pencil line down the center of the
board. The center of the halo should lie
on this line.
composition. When laying them out, draw
a light pencil line down the center of the
board. The center of the halo should lie
on this line.
For a half-figure icon like those above, note
that the top of the head falls just at the inner
edge of the recess on a sculpted board.
that the top of the head falls just at the inner
edge of the recess on a sculpted board.
Before applying bole, lightly engrave the main lines (and especially the facial features) into the white gesso with
a pointed tool. This will help you locate the features under the dark base color (roskrish) to follow. Do not engrave
halo, archangel’s spears, stars, fringes, lettering, small details, or transparent globes. Wipe up dust with a tissue.
When engraving is complete, use a kneaded gray rubber eraser to lighten the dark lines from the carbon paper,
and to clean up stray guidelines.
a pointed tool. This will help you locate the features under the dark base color (roskrish) to follow. Do not engrave
halo, archangel’s spears, stars, fringes, lettering, small details, or transparent globes. Wipe up dust with a tissue.
When engraving is complete, use a kneaded gray rubber eraser to lighten the dark lines from the carbon paper,
and to clean up stray guidelines.
An arched board is especially suitable for
a symmetrical icon. In most cases, the
border is not wide enough for the halo, so
the halo sits below the border.
a symmetrical icon. In most cases, the
border is not wide enough for the halo, so
the halo sits below the border.
Full-length figures and their halos usually sit
completely below the border; but sometimes
a halo, scroll, or other feature, or even the
landscape, extends into the border area.
completely below the border; but sometimes
a halo, scroll, or other feature, or even the
landscape, extends into the border area.
SELECTING THE RIGHT BOARD OR PANEL FOR YOUR ICON
Typical beginner icons, showing a figure from the waist area up, or just head and shoulders, are of a proportion
which will almost always fit attractively on boards and panels of the standard sizes 7 x 9 inches, 9 x 12 inches, 9.5 x
12.5 inches, 11 x 14 inches. If the icon is symmetrical in composition, it will usually also fit on an arched board of
these proportions. You may have to xerox your drawing larger or smaller.
Some icons require boards or panels of other proportions. The Trinity icon is proportioned 4 units wide to 5 units
high. A tall narrow board accommodates a standing figure. Some icons are intended for a square or near-square
board, and a few for a horizontally oriented board. To realize your vision, you may choose to order a custom board.
For any icon, you will probably make some minor adjustments to the drawing, so that it will look good on its board.
Typical beginner icons, showing a figure from the waist area up, or just head and shoulders, are of a proportion
which will almost always fit attractively on boards and panels of the standard sizes 7 x 9 inches, 9 x 12 inches, 9.5 x
12.5 inches, 11 x 14 inches. If the icon is symmetrical in composition, it will usually also fit on an arched board of
these proportions. You may have to xerox your drawing larger or smaller.
Some icons require boards or panels of other proportions. The Trinity icon is proportioned 4 units wide to 5 units
high. A tall narrow board accommodates a standing figure. Some icons are intended for a square or near-square
board, and a few for a horizontally oriented board. To realize your vision, you may choose to order a custom board.
For any icon, you will probably make some minor adjustments to the drawing, so that it will look good on its board.
The same icon drawing; two boards and two interpretations!
These icons of Christ Emmanuel were painted side by side in the
same Prosopon School workshop, using the same drawing.
Left; by Loretta Hoffmann, on a sculpted board 11 x 14 inches, with
gilded background and patterned dark blue border.
Right, by Betsy Porter, on an arched panel 9.5 x 12.5 inches, with
night sky background and a plain narrow border.
These icons of Christ Emmanuel were painted side by side in the
same Prosopon School workshop, using the same drawing.
Left; by Loretta Hoffmann, on a sculpted board 11 x 14 inches, with
gilded background and patterned dark blue border.
Right, by Betsy Porter, on an arched panel 9.5 x 12.5 inches, with
night sky background and a plain narrow border.
STARTING A NEW ICON - SELECTING A BOARD AND DESIGN
Would you like to paint a Byzantine icon? Follow these technical pages to learn
how! Allow yourself plenty of time, at least 40 meditative hours. Although you can
paint an icon in five or six intensive days (as at a workshop), a slower pace and
shorter work periods of 2 to 4 hours suit me better, and allow the egg tempera
paint to set up between layers.
There are many other traditional and modern techniques and styles for painting
an icon, and some are quicker, but this one produces especially beautiful results.
Would you like to paint a Byzantine icon? Follow these technical pages to learn
how! Allow yourself plenty of time, at least 40 meditative hours. Although you can
paint an icon in five or six intensive days (as at a workshop), a slower pace and
shorter work periods of 2 to 4 hours suit me better, and allow the egg tempera
paint to set up between layers.
There are many other traditional and modern techniques and styles for painting
an icon, and some are quicker, but this one produces especially beautiful results.
Consider the main colors for your icon. What color garments will the saint wear? For well-known and Biblical
saints, there are traditional colors, which can be found in historic icons or reference books - but you will see
considerable variation in the depth, intensity, and shade of these colors.
Garment colors are symbolic; it is said that the color of the outer garment indicates the public persona or life
story of the saint, and the inner garment signifies more private or personal qualities. Martyrs are usually shown
with a red outer garment.
Also think about the background color or colors. Many traditional icons have gilded backgrounds to evoke
the brilliance of heaven. A pale gold provides much of the same effect. A deep blue night sky with stars makes a
heavenly background for Christ in Glory. In historic icons, you will see a variety of background and margin colors.
Almost any color may be used, other than stark white or black, which are too harsh to properly set off the subtle
tonalities of natural pigments.
I like to use a contrasting margin to frame the image, but this is entirely optional. The margin color is typically a
darker and toned-down version of the color used for the inner background. If in doubt, a dark gold outer margin
looks good with most inner backgrounds.
saints, there are traditional colors, which can be found in historic icons or reference books - but you will see
considerable variation in the depth, intensity, and shade of these colors.
Garment colors are symbolic; it is said that the color of the outer garment indicates the public persona or life
story of the saint, and the inner garment signifies more private or personal qualities. Martyrs are usually shown
with a red outer garment.
Also think about the background color or colors. Many traditional icons have gilded backgrounds to evoke
the brilliance of heaven. A pale gold provides much of the same effect. A deep blue night sky with stars makes a
heavenly background for Christ in Glory. In historic icons, you will see a variety of background and margin colors.
Almost any color may be used, other than stark white or black, which are too harsh to properly set off the subtle
tonalities of natural pigments.
I like to use a contrasting margin to frame the image, but this is entirely optional. The margin color is typically a
darker and toned-down version of the color used for the inner background. If in doubt, a dark gold outer margin
looks good with most inner backgrounds.
AT RIGHT; A PROBLEMATIC CHOICE OF BOARD
Both of the icons at right were painted on standard sculpted boards,
11 x 14 inches with recess or kovcheg. The wide margin is designed to
provide space for a half-figure whose halo extends well onto the margin.
In these icons, the image is constricted within the recessed area, so the
margin appears disproportionately large. On the Mandylion icon at far
right, a reddish outer border was added to reduce the apparent size of
the board. A decorative line with corner motifs similarly softens the
impact of the wide margin of the Annunciation icon at near right.
Both icons would have looked better on custom boards with narrower
borders and proportionally larger kovcheg. As a second choice, a flat
panel would have provided more space for the image.
Both of the icons at right were painted on standard sculpted boards,
11 x 14 inches with recess or kovcheg. The wide margin is designed to
provide space for a half-figure whose halo extends well onto the margin.
In these icons, the image is constricted within the recessed area, so the
margin appears disproportionately large. On the Mandylion icon at far
right, a reddish outer border was added to reduce the apparent size of
the board. A decorative line with corner motifs similarly softens the
impact of the wide margin of the Annunciation icon at near right.
Both icons would have looked better on custom boards with narrower
borders and proportionally larger kovcheg. As a second choice, a flat
panel would have provided more space for the image.
SELECTING COLORS FOR YOUR ICON
The Apostle Simon Peter (at left) appears in many icons and is
easy to recognize. His outer garment is invariably in the
golden-brown range, and his inner garment is blue or blue-green.
Saint Dorothy (at right) is less often depicted, and there are no
standard colors for her clothing. As a martyr, she wears a red outer
garment. She could equally well have been painted with a leafy
green background and a golden inner garment.
The Apostle Simon Peter (at left) appears in many icons and is
easy to recognize. His outer garment is invariably in the
golden-brown range, and his inner garment is blue or blue-green.
Saint Dorothy (at right) is less often depicted, and there are no
standard colors for her clothing. As a martyr, she wears a red outer
garment. She could equally well have been painted with a leafy
green background and a golden inner garment.
Saint Gregory of Nyssa is shown here with on a light green inner
background with darker green margin, both of which pick up on
the color of the darkest green pattern in his robe.
The center of the Tree of Life icon is shown in daylight, and the
dark blue margin depicts the same scene at night - home for a few
nocturnal creatures and lots of stars.
Forward to Color Recipes
background with darker green margin, both of which pick up on
the color of the darkest green pattern in his robe.
The center of the Tree of Life icon is shown in daylight, and the
dark blue margin depicts the same scene at night - home for a few
nocturnal creatures and lots of stars.
Forward to Color Recipes
Left; a color chart from a workshop of
the Prosopon School.
Color symbolism follows a chakra-like
system. Blue and violet are associated
with heaven, and red with earth.
Green, in the center, symbolizes the
desired balance in our human lives.
the Prosopon School.
Color symbolism follows a chakra-like
system. Blue and violet are associated
with heaven, and red with earth.
Green, in the center, symbolizes the
desired balance in our human lives.
