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Betsy Porter
Art and Iconography
PAINTING ICONS STEP BY STEP
Art and Iconography
PAINTING ICONS STEP BY STEP
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As an icon is constructed, it goes through an orderly and well-planned series of
stages. Even though the initial stages do not look like "art," they are essential to
the final outcome.
Painting of details is intentionally delayed until the base colors, highlighting, and
transparent washes or "floats" are complete.
Recently I've been taking step-by-step photos of my own icons and those of my
students.
If the series is missing a few early stages, I probably missed the opportunity to
take pictures. If the final photos in the series are missing, I'm still working on the
icon!
Throughout this site and especially these technical pages, you will find many
photos (including some repeated on this page) showing how the image is built up
through its many layers.
A little trouble-shooting is often necessary - so I'll mention that where it occurred -
this can sometimes be a little embarrassing, to admit that I didn't get it right the
first time.
stages. Even though the initial stages do not look like "art," they are essential to
the final outcome.
Painting of details is intentionally delayed until the base colors, highlighting, and
transparent washes or "floats" are complete.
Recently I've been taking step-by-step photos of my own icons and those of my
students.
If the series is missing a few early stages, I probably missed the opportunity to
take pictures. If the final photos in the series are missing, I'm still working on the
icon!
Throughout this site and especially these technical pages, you will find many
photos (including some repeated on this page) showing how the image is built up
through its many layers.
A little trouble-shooting is often necessary - so I'll mention that where it occurred -
this can sometimes be a little embarrassing, to admit that I didn't get it right the
first time.
A small Mandylion icon takes shape. Far left, gilding and red halo lines
are complete, and the process of painting roskrish has begun. Center left,
the dark blue background roskrish is complete.
Center; the line work has been completed and first highlight is in process.
Center right; first highlights and first float have been completed; and the
background has received two additional layers of dark blue paint. Far right;
second highlight is complete.
At right, the finished icon; The Mandylion or The Holy Face
Egg tempera and gold leaf on panel, 5 x 6 inches, 2008
Back to Icons of Jesus
are complete, and the process of painting roskrish has begun. Center left,
the dark blue background roskrish is complete.
Center; the line work has been completed and first highlight is in process.
Center right; first highlights and first float have been completed; and the
background has received two additional layers of dark blue paint. Far right;
second highlight is complete.
At right, the finished icon; The Mandylion or The Holy Face
Egg tempera and gold leaf on panel, 5 x 6 inches, 2008
Back to Icons of Jesus
Saint Andrew the Apostle is depicted as a distinguished and confident
teacher on this postcard-sized personal icon.
Above left, roskrish is almost complete. Next, I add a border in a strange
blotchy lavender - this remains through several stages while I work on the
figure. Above right, second float, and detail of third highlight.
Below left, third float - and the grayish-white float on the hair looks terrible!
Below center, a dark ochre float on the hair, and a light gold float over that
pesky lavender border. Below right, line work and borders. For a strong
outline, the hair was darkened where it meets the halo.
teacher on this postcard-sized personal icon.
Above left, roskrish is almost complete. Next, I add a border in a strange
blotchy lavender - this remains through several stages while I work on the
figure. Above right, second float, and detail of third highlight.
Below left, third float - and the grayish-white float on the hair looks terrible!
Below center, a dark ochre float on the hair, and a light gold float over that
pesky lavender border. Below right, line work and borders. For a strong
outline, the hair was darkened where it meets the halo.
Saint Andrew the Apostle
Egg tempera and gold leaf on panel
5 x 6 inches, 2008
Back to Icons of Saints
Egg tempera and gold leaf on panel
5 x 6 inches, 2008
Back to Icons of Saints
The Fourth Day of Creation - The 2003 version at right was a wedding gift, and has
moved out of town with its owners. I miss it, and am in the process of painting a new
version, this time on an arched board.
moved out of town with its owners. I miss it, and am in the process of painting a new
version, this time on an arched board.
Left to right - Bole is applied to edge of board and to areas to be gilded - including lots of stars! In second photo,
gilding and 2 coats of roskrish are complete. Third photo shows dark lines; and fourth photo shows first highlight.
gilding and 2 coats of roskrish are complete. Third photo shows dark lines; and fourth photo shows first highlight.
Left; second highlight. For this version,
I'm using an "assiste" style of highlighting,
marked by fine lines rather than gradual
shading. The ocean waves are far more
active than in the 2003 icon.
Right; the blue background is finished as
has received 3 light floats of lazurite
(ground lapis lazuli) and Egyptian blue
(ground blue glass) for sparkle and depth.
Third highlight is in progress - and I can
start painting the 8-pointed stars! There
are so many; this takes 2 hours.
Then the inscription is added around the
wide margin - same text as for the first
version, because these words greatly
appeal to me.
Lastly, the Creator's white and golden
garments are accented with fine lines of
shell gold! 2 or 3 applications are needed
for good coverage. After the gold dries, it
is burnished to a high sheen.
The Fourth Day of Creation
egg tempera and gold leaf on shaped sculpted
board, 11 inches x 12.5 inches, 2008
photograph by Richard Anderson
Border inscription from Bishop Seraphim Segrist
I'm using an "assiste" style of highlighting,
marked by fine lines rather than gradual
shading. The ocean waves are far more
active than in the 2003 icon.
Right; the blue background is finished as
has received 3 light floats of lazurite
(ground lapis lazuli) and Egyptian blue
(ground blue glass) for sparkle and depth.
Third highlight is in progress - and I can
start painting the 8-pointed stars! There
are so many; this takes 2 hours.
Then the inscription is added around the
wide margin - same text as for the first
version, because these words greatly
appeal to me.
Lastly, the Creator's white and golden
garments are accented with fine lines of
shell gold! 2 or 3 applications are needed
for good coverage. After the gold dries, it
is burnished to a high sheen.
The Fourth Day of Creation
egg tempera and gold leaf on shaped sculpted
board, 11 inches x 12.5 inches, 2008
photograph by Richard Anderson
Border inscription from Bishop Seraphim Segrist
The Annunciation was the assigned icon for an intermediate-level
workshop of the Prosopon School, with Dmitri Andrejev as instructor.
The background was gilded in advance - a big job which took me most
of a weekend, and used some 12 sheets of gold leaf.
workshop of the Prosopon School, with Dmitri Andrejev as instructor.
The background was gilded in advance - a big job which took me most
of a weekend, and used some 12 sheets of gold leaf.
By Orthodox tradition, the young Mary was living and working in the Temple of
Jerusalem when the Archangel Gabriel appeared to tell her that she should expect
to become the mother of a very special baby.
To enhance the other-worldly atmosphere of this icon, Mary (with her seat and
footrest) and Gabriel are shown floating in front of the background.
The building and its architectural features are shown in an inversed perspective,
folded outward to display an event taking place indoors This arrangement is very
illogical to our Western ways of thinking, but it enables the viewer to view both the
inside and the outside of the building simultaneously. For more, see the
Landscape, Buildings, and Furniture page.
The Temple and its special features, as well as the figures of Gabriel and Mary, are
full of symbolic meaning. I found it challenging to incorporate all these elements in
an artistically unified and harmonious way, and to make the figures "read" clearly
against the complicated background.
Jerusalem when the Archangel Gabriel appeared to tell her that she should expect
to become the mother of a very special baby.
To enhance the other-worldly atmosphere of this icon, Mary (with her seat and
footrest) and Gabriel are shown floating in front of the background.
The building and its architectural features are shown in an inversed perspective,
folded outward to display an event taking place indoors This arrangement is very
illogical to our Western ways of thinking, but it enables the viewer to view both the
inside and the outside of the building simultaneously. For more, see the
Landscape, Buildings, and Furniture page.
The Temple and its special features, as well as the figures of Gabriel and Mary, are
full of symbolic meaning. I found it challenging to incorporate all these elements in
an artistically unified and harmonious way, and to make the figures "read" clearly
against the complicated background.
Back to Icons of Creation
When an icon includes figures of this small scale (face smaller than the size of a dime) it is
OK to use only 2 series of highlights and floats. You can paint some second highlight over
the first highlight, as shown at left above, before floating.
After the first float, the second highlight is continued and elaborated, then proceeding directly
into the third highlight.
OK to use only 2 series of highlights and floats. You can paint some second highlight over
the first highlight, as shown at left above, before floating.
After the first float, the second highlight is continued and elaborated, then proceeding directly
into the third highlight.
Ubuntu Trinity, although contemporary in theme, is based in concept
and general layout on the famous Rublev icon. For the three angelic
figures, I used the drawing for Holy Trinity, but lowered the figures on
the board so that they could be shown sitting on the ground.
Sankir, the base color for flesh areas, is different for each figure - but
highlight and float colors are the same for each of them. Similarly, the
roskrish or base color is different for each robe, but all are highlighted
and floated with the same pale gold, followed by white.
and general layout on the famous Rublev icon. For the three angelic
figures, I used the drawing for Holy Trinity, but lowered the figures on
the board so that they could be shown sitting on the ground.
Sankir, the base color for flesh areas, is different for each figure - but
highlight and float colors are the same for each of them. Similarly, the
roskrish or base color is different for each robe, but all are highlighted
and floated with the same pale gold, followed by white.
The leaves, birds, fish, and stars were painted as finishing
touches, after their backgrounds were completed. Although
the water was painted early in the process, the waves wore
away and had to be re-painted at the end. The light gold
background became overly blotchy - and had to be carefully
re-painted, using a tiny brush to get between the leaves.
touches, after their backgrounds were completed. Although
the water was painted early in the process, the waves wore
away and had to be re-painted at the end. The light gold
background became overly blotchy - and had to be carefully
re-painted, using a tiny brush to get between the leaves.
Ubuntu Trinity
egg tempera and gold leaf on shaped panel,
11 inches x 12.5 inches, 2008
photograph by Richard Anderson
Back to Icons of Creation
egg tempera and gold leaf on shaped panel,
11 inches x 12.5 inches, 2008
photograph by Richard Anderson
Back to Icons of Creation
This complex icon is full of movement in multiple directions, with many
diagonal lines. At times its components seemed to be "flying apart" as
in an abstract painting by Kandinsky.
At the suggestion of Patricia K. Kelly, Gabriel's wings were floated to a
lighter color, so that they fade somewhat into the background. The
figures are now more nearly equivalent in visual weight, the strongest
diagonal line (the upraised wing) is much reduced in visual impact, and
the composition has become more stable. The decorative line with lily
corner motif repeats the lily at from Gabriel's spear, and breaks up the
disproportionately wide border.
The Annunciation
egg tempera and gold leaf on sculpted board,
11 inches x 14 inches, 2008
photograph by Richard Anderson
Back to Icons of Mary
diagonal lines. At times its components seemed to be "flying apart" as
in an abstract painting by Kandinsky.
At the suggestion of Patricia K. Kelly, Gabriel's wings were floated to a
lighter color, so that they fade somewhat into the background. The
figures are now more nearly equivalent in visual weight, the strongest
diagonal line (the upraised wing) is much reduced in visual impact, and
the composition has become more stable. The decorative line with lily
corner motif repeats the lily at from Gabriel's spear, and breaks up the
disproportionately wide border.
The Annunciation
egg tempera and gold leaf on sculpted board,
11 inches x 14 inches, 2008
photograph by Richard Anderson
Back to Icons of Mary
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