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Betsy Porter
Art and Iconography
STUDIO TIPS FOR THE ICONOGRAPHER
Art and Iconography
STUDIO TIPS FOR THE ICONOGRAPHER
STUDIO TIPS FOR EGG TEMPERA ICONOGRAPHY
- While working on your icon, set it flat on a hand towel to protect both the icon and the table. When packing
it up, wrap it in the towel. Then put the bundle in a plastic bag inside a tote bag. If leaving an icon in place
overnight, cover it with another towel.
- You will be working with very small quantities of pigment. Take it from the container using a small flat
pointed tool, such as the smallest size palette knife from the art supply store.
- When mixing colors, you will need to handle small amounts of liquid egg tempera base and distilled water.
Use an eye dropper for each container of liquid.
- All paint must contain binder, which for egg tempera is the egg yolk. Combined with pigment, it will gradually
cure and harden into a durable paint film. Do not mix paint with pigment and water alone!
- After mixing paint, test it on lined white paper, to see how well it covers the lines. Use the same brush stroke
that you will use on the icon - usually small circles. (This is especially important with floats, which should be
very dilute.) When you are satisfied, check it again on an inconspicuous part of the icon.
- Avoid spills! Pigments, egg tempera base, oilfa, liquid bole, and even water can make nasty messes that
are time-consuming to clean. Get in the habit of replacing lids promptly, and check them before packing up.
- Made a mistake? Remove fresh paint promptly using a Q-tip dipped in water and then blotted on your
towel. For larger areas, use a damp cotton ball. Rub gently; do not scrub! If the paint has cured, then
paint over it.
- Small quantities of paint may evaporate more quickly than you can use them. Reconstitute thick paint using
egg tempera base, not water. If leaving your paint for an hour or two, add a drop of egg tempera base, and
cover your palette with plastic wrap or with another palette.
- Store egg tempera paint overnight in the refrigerator, covered with plastic wrap. Do not store over 2 days.
- Egg tempera has to cure or set up, so it is best to allow curing time between layers. Let your highlights cure
overnight, and preferably longer, before you "float" over them with dilute color.
- If conditions permit, work on two or more icons during the same session. Then the egg tempera will have
more cure time between applications.
- When cleaning up, wipe your palette well with paper towels before washing, to minimize the pigments and
bole going down the drain and potentially clogging it. Mineral pigments and bole are not biodegradable.
- Take good care of your beautiful natural-fiber watercolor brushes! Don't leave them nose down in the
water. Swish in water to rinse well, then remove remaining paint by wiping with a tissue or towel. Let them
dry flat on your towel between uses. Tilt nose down slightly so water will drain out of the metal ferrule.
| Betsy Porter at work in her home studio area |
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THE RULING PEN AND ITS USES - A ruling pen is a drafting instrument, intended to quickly make precise
ink or paint lines of even width. Many years ago in architectural school, we students were expected to make
presentation drawings of our building designs, using the ruling pen to draw with indelible black India ink on white
boards. Mistakes were not easy to erase!
The ruling pen tip consists of two flat parallel prongs, held in place by a screw which can be tightened or loosened
to adjust the width of the line. Don't let that little screw get lost! Some compasses come with a ruling pen tip as
well as a pencil tip.
To fill the ruling pen with liquid paint, fill a No. 2 brush and touch it to the space between the prongs,
working from the side of the pen. The pen will hold about two brush-fulls of paint. No more please -
because an over-full pen may suddenly drop a mess of paint on the surface of your board.
Practice on paper, to get the paint flowing and to make sure you like the line width.
The ruling pen starts and flows most easily if held at an diagonal to the surface - not straight up and down. If you
have difficulty getting it started, touch the tip with a damp Q-tip or your slightly wet finger. Once the pen flows, you
can just drag it rapidly along in its path until it runs out of paint and has to be re-filled.
Work quickly! Don't let the paint dry up in the pen. Wash the pen promptly after you finish using it.
Use your ruling pen with a regular handle to make straight lines, with the help of a ruler or straight-edge. To avoid
smears from the pen, the edge of the ruler should be slightly raised above the surface of paper or board.
Use your ruling pen compass to make circles, such as the red circle around the halo. Before loading the pen to
make the circle, establish the center and radius of the halo. Make a small indentation for the compass point, and
set the compass to the desired radius. Fill the pen and quickly make the circle, tilting the compass as shown.
Paint flows quite thickly from the pen, and may take up to 30 minutes to dry. While the paint is drying, avoid other
work near the line, so you won't smear the paint.
Keep a box of tissue and a slightly dampened Q-tip nearby, to clean up quickly in case of mishap.
ink or paint lines of even width. Many years ago in architectural school, we students were expected to make
presentation drawings of our building designs, using the ruling pen to draw with indelible black India ink on white
boards. Mistakes were not easy to erase!
The ruling pen tip consists of two flat parallel prongs, held in place by a screw which can be tightened or loosened
to adjust the width of the line. Don't let that little screw get lost! Some compasses come with a ruling pen tip as
well as a pencil tip.
To fill the ruling pen with liquid paint, fill a No. 2 brush and touch it to the space between the prongs,
working from the side of the pen. The pen will hold about two brush-fulls of paint. No more please -
because an over-full pen may suddenly drop a mess of paint on the surface of your board.
Practice on paper, to get the paint flowing and to make sure you like the line width.
The ruling pen starts and flows most easily if held at an diagonal to the surface - not straight up and down. If you
have difficulty getting it started, touch the tip with a damp Q-tip or your slightly wet finger. Once the pen flows, you
can just drag it rapidly along in its path until it runs out of paint and has to be re-filled.
Work quickly! Don't let the paint dry up in the pen. Wash the pen promptly after you finish using it.
Use your ruling pen with a regular handle to make straight lines, with the help of a ruler or straight-edge. To avoid
smears from the pen, the edge of the ruler should be slightly raised above the surface of paper or board.
Use your ruling pen compass to make circles, such as the red circle around the halo. Before loading the pen to
make the circle, establish the center and radius of the halo. Make a small indentation for the compass point, and
set the compass to the desired radius. Fill the pen and quickly make the circle, tilting the compass as shown.
Paint flows quite thickly from the pen, and may take up to 30 minutes to dry. While the paint is drying, avoid other
work near the line, so you won't smear the paint.
Keep a box of tissue and a slightly dampened Q-tip nearby, to clean up quickly in case of mishap.
Forward to Color Recipes
Forward to Roskrish or Base Colors
Forward to Painting and Highlighting
Back to Home Page
Back to Main Technical Page
Back to Supply List
Forward to Roskrish or Base Colors
Forward to Painting and Highlighting
Back to Home Page
Back to Main Technical Page
Back to Supply List
Lori Greenleaf at work on an
icon of Archangel Michael
icon of Archangel Michael
Load your ruling pen with paint from the side, using a full brush of fluid paint. Hold the pen at an angle
against a ruler, which should be slightly elevated from the surface. Working quickly, pull the loaded pen
across the surface for a beautifully straight and even line! Wash the pen promptly after use, and don't let
paint dry up in it.
against a ruler, which should be slightly elevated from the surface. Working quickly, pull the loaded pen
across the surface for a beautifully straight and even line! Wash the pen promptly after use, and don't let
paint dry up in it.
Load the ruling pen compass from the side, same as the straight ruling pen. Again, drag the loaded pen
along at an angle to the surface. Use 2 closely spaced concentric circles at the edge of the halo, and fill
in between the lines with a fine brush.
If you have problems with the ruling pen or the ruling pen compass, clean it and practice on paper until
you feel confident. Of course you can always make light pencil guidelines, and then paint your lines and
circles along or between the guidelines, using a small liner brush. You'll have to go over the line or circle
at least 3 times, probably more. It's slower, but the slightly irregular line can be very attractive.
along at an angle to the surface. Use 2 closely spaced concentric circles at the edge of the halo, and fill
in between the lines with a fine brush.
If you have problems with the ruling pen or the ruling pen compass, clean it and practice on paper until
you feel confident. Of course you can always make light pencil guidelines, and then paint your lines and
circles along or between the guidelines, using a small liner brush. You'll have to go over the line or circle
at least 3 times, probably more. It's slower, but the slightly irregular line can be very attractive.
I buy my boards and panels already covered with true white gesso; works of art in their own right. If you are doing
a lot of painting, working on large pieces, or just want to save money, you may prefer to gesso your own boards.
This is messy work, best done in a studio or work space rather than in your home kitchen.
Un-gessoed boards and/or panels are available from www.iconboards.com, Utrecht, Dick Blick, and other
suppliers. If you have a wood shop, you can cut your own panels from furniture grade birch plywood; sand
edges. To make a board with a recess, a router is required.
My friend Patricia Kelly has graciously contributed the following instructions. Betsy
HOW TO MAKE AND APPLY TRUE GESSO FOR EGG TEMPERA PAINTING
By Patricia K. Kelly; website www.patriciakkelly.com
Gesso is a mixture of whiting (calcium carbonate), white pigment, and rabbit skin glue. It is the traditional ground,
or paintable surface, for wood panels employed in egg tempera and encaustic painting. Commercial ready-made
gesso is acrylic-based and non-absorbent, but egg tempera and encaustic require an absorbent, rigid,
dimensionally stable surface; typically a wooden board or panel covered with several layers of true gesso,
composed of all-natural ingredients.
Gamblin’s Traditional Gesso and Fredrix’s Gesso Ground Dry Mix produce pre-mixed packs of dry gesso,
available at Utrecht and other art stores. You just add water and follow the directions. If you’ve never prepared
gesso from scratch, I highly recommend these dry-mix options. They are pretty good and convenient, because
you don’t have to source the ingredients and fiddle with measurements etc.
Preparing your own gesso panels can be fun, especially with friends, and definitely heightens the painting
experience. Gesso is tricky! Results can be unpredictable, because you’re working with the idiosyncrasies of
animal and mineral products, but good materials and patient observation can yield good results.
My recipe is not scientific, and I cannot guarantee your results. However, this is the most straightforward recipe
that I have used. It’s based on volume measurements; one volume measure of glue size mixed with two volume
measures of white filler. I normally prepare enough to cover 5-7 panels with 6-8 coats of gesso. You might prefer
to start with just one panel. Scale the volume measure down to one cup.
MATERIALS
- Rabbit skin glue granules
- Whiting –big bag
- Titanium white dry pigment – 2 pounds
- Bulk size empty tomato can
- Double boiler
- 2-ounce empty tin
- 32-ounce empty plastic yogurt container
- Wooden spoon
- Large sieve
- Dust mask
- Goggles
- Two 3-inch flat brushes, one for size, one for gesso
- Plywood panels and/or wood boards
METHOD
PRELIMINARY SIZING
Prime your panel with rabbit skin glue to seal the surface, to prepare it for application of gesso.
- 1x volume measure of rabbit skin granules– I use a 2-ounce tin as measure
- 10x volume measure of water. Mix granules and water together in a heat-proof container, and leave to soak until
granules swell up. This can take an hour; or much longer if you’re working in a cold room.
- Place the container into a large saucepan of water and heat the size until it dissolves. Do not boil. Then allow
the glue to cool; and put it into the fridge.
- Test for texture – as glue chills, it should acquire a crumbly Jello-like texture when you stick your finger into it.
If it’s rubbery, it needs more water. Re-heat, adding a little more water.
If the size doesn’t solidify to crumbly texture, add extra rabbit skin glue granules, but soak granules first.
- Apply one coat of warm (not hot) glue size to front sides and back of panel. Let panel dry overnight, and do not
dry in direct heat.
OPTIONAL: APPLYING LINEN CLOTH
I don't apply linen to panels; I don't think it's necessary. Originally it was used to support the painting in case it
cracked. Personally I wouldn't use linen, because it could create problems with mold etc. But here's how:
- Dip linen, cut slightly larger than board, into warm size. Wring it out.
- Spread linen onto sized dry panel, smoothing it out and taking care to prevent air bubbles.
- Tuck in the corners, but do not extend cloth across the back.
- Allow to dry before applying gesso.
PREPARING GESSO
- Wear dust mask and goggles.
- Fill empty 32-ounce yogurt container with whiting; then carefully sieve whiting into heatproof tomato can.
- Fill 32-ounce yogurt container with half whiting and half titanium white pigment; then sieve into can.
- Stir to distribute whiting and pigment evenly.
- Slowly add cold water whilst gently stirring. Add just enough water to produce a smooth, thick paste.
- Cover the container and set aside for several hours or overnight.
MIXING AND APPLYING GESSO
- Prepare fresh glue size, enough for your chosen volume. Mine is the 32-ounce yogurt container.
- When size is still warm, slowly add volume measure to the tomato can whilst stirring gently.
- The mixture should now have the consistency of cream with no lumps. It’s vital to add the glue slowly; otherwise
you’ll get lumps.
- As gesso cools it jells, so apply it warm. Place can in double boiler half-full of cool water on low heat. Do not
overheat gesso, as overheating produces air bubbles in gesso. Ideally, get gesso to blood temperature, and do
not stir vigorously.
- Apply first coat to front, back, and sides of panel. Use wide brush. Don’t go over your brushwork. The gesso
will look streaky, that’s OK. That’s why you build up the surface in layers until it evens out.
- When water has evaporated from the surface, apply the next coat to front and sides. (One coat is enough for
the back.) Each coat needs to be laid at an angle to the underlying coat, so that the gesso has a better grip.
Make sure water has evaporated before adding the next coat.
- Do not try to accelerate the drying process. In cold weather, gesso will take longer to dry.
- Stir gesso gently before each new coat, as the mixture can sink to the bottom of the can. If the gesso thickens,
either it’s too cold or it needs a little more water.
SANDING AND FINISHING
- I don’t recommend sanding the gesso panel between coats. Wait until the following day after it’s had a chance
to dry out.
- Sand with 400 wet/dry fine sandpaper to remove brush marks. Wear dust mask and goggles! Work outdoors if
possible.
- Finish off by gently polishing the surface with slightly damp soft, fine white linen cloth.
a lot of painting, working on large pieces, or just want to save money, you may prefer to gesso your own boards.
This is messy work, best done in a studio or work space rather than in your home kitchen.
Un-gessoed boards and/or panels are available from www.iconboards.com, Utrecht, Dick Blick, and other
suppliers. If you have a wood shop, you can cut your own panels from furniture grade birch plywood; sand
edges. To make a board with a recess, a router is required.
My friend Patricia Kelly has graciously contributed the following instructions. Betsy
HOW TO MAKE AND APPLY TRUE GESSO FOR EGG TEMPERA PAINTING
By Patricia K. Kelly; website www.patriciakkelly.com
Gesso is a mixture of whiting (calcium carbonate), white pigment, and rabbit skin glue. It is the traditional ground,
or paintable surface, for wood panels employed in egg tempera and encaustic painting. Commercial ready-made
gesso is acrylic-based and non-absorbent, but egg tempera and encaustic require an absorbent, rigid,
dimensionally stable surface; typically a wooden board or panel covered with several layers of true gesso,
composed of all-natural ingredients.
Gamblin’s Traditional Gesso and Fredrix’s Gesso Ground Dry Mix produce pre-mixed packs of dry gesso,
available at Utrecht and other art stores. You just add water and follow the directions. If you’ve never prepared
gesso from scratch, I highly recommend these dry-mix options. They are pretty good and convenient, because
you don’t have to source the ingredients and fiddle with measurements etc.
Preparing your own gesso panels can be fun, especially with friends, and definitely heightens the painting
experience. Gesso is tricky! Results can be unpredictable, because you’re working with the idiosyncrasies of
animal and mineral products, but good materials and patient observation can yield good results.
My recipe is not scientific, and I cannot guarantee your results. However, this is the most straightforward recipe
that I have used. It’s based on volume measurements; one volume measure of glue size mixed with two volume
measures of white filler. I normally prepare enough to cover 5-7 panels with 6-8 coats of gesso. You might prefer
to start with just one panel. Scale the volume measure down to one cup.
MATERIALS
- Rabbit skin glue granules
- Whiting –big bag
- Titanium white dry pigment – 2 pounds
- Bulk size empty tomato can
- Double boiler
- 2-ounce empty tin
- 32-ounce empty plastic yogurt container
- Wooden spoon
- Large sieve
- Dust mask
- Goggles
- Two 3-inch flat brushes, one for size, one for gesso
- Plywood panels and/or wood boards
METHOD
PRELIMINARY SIZING
Prime your panel with rabbit skin glue to seal the surface, to prepare it for application of gesso.
- 1x volume measure of rabbit skin granules– I use a 2-ounce tin as measure
- 10x volume measure of water. Mix granules and water together in a heat-proof container, and leave to soak until
granules swell up. This can take an hour; or much longer if you’re working in a cold room.
- Place the container into a large saucepan of water and heat the size until it dissolves. Do not boil. Then allow
the glue to cool; and put it into the fridge.
- Test for texture – as glue chills, it should acquire a crumbly Jello-like texture when you stick your finger into it.
If it’s rubbery, it needs more water. Re-heat, adding a little more water.
If the size doesn’t solidify to crumbly texture, add extra rabbit skin glue granules, but soak granules first.
- Apply one coat of warm (not hot) glue size to front sides and back of panel. Let panel dry overnight, and do not
dry in direct heat.
OPTIONAL: APPLYING LINEN CLOTH
I don't apply linen to panels; I don't think it's necessary. Originally it was used to support the painting in case it
cracked. Personally I wouldn't use linen, because it could create problems with mold etc. But here's how:
- Dip linen, cut slightly larger than board, into warm size. Wring it out.
- Spread linen onto sized dry panel, smoothing it out and taking care to prevent air bubbles.
- Tuck in the corners, but do not extend cloth across the back.
- Allow to dry before applying gesso.
PREPARING GESSO
- Wear dust mask and goggles.
- Fill empty 32-ounce yogurt container with whiting; then carefully sieve whiting into heatproof tomato can.
- Fill 32-ounce yogurt container with half whiting and half titanium white pigment; then sieve into can.
- Stir to distribute whiting and pigment evenly.
- Slowly add cold water whilst gently stirring. Add just enough water to produce a smooth, thick paste.
- Cover the container and set aside for several hours or overnight.
MIXING AND APPLYING GESSO
- Prepare fresh glue size, enough for your chosen volume. Mine is the 32-ounce yogurt container.
- When size is still warm, slowly add volume measure to the tomato can whilst stirring gently.
- The mixture should now have the consistency of cream with no lumps. It’s vital to add the glue slowly; otherwise
you’ll get lumps.
- As gesso cools it jells, so apply it warm. Place can in double boiler half-full of cool water on low heat. Do not
overheat gesso, as overheating produces air bubbles in gesso. Ideally, get gesso to blood temperature, and do
not stir vigorously.
- Apply first coat to front, back, and sides of panel. Use wide brush. Don’t go over your brushwork. The gesso
will look streaky, that’s OK. That’s why you build up the surface in layers until it evens out.
- When water has evaporated from the surface, apply the next coat to front and sides. (One coat is enough for
the back.) Each coat needs to be laid at an angle to the underlying coat, so that the gesso has a better grip.
Make sure water has evaporated before adding the next coat.
- Do not try to accelerate the drying process. In cold weather, gesso will take longer to dry.
- Stir gesso gently before each new coat, as the mixture can sink to the bottom of the can. If the gesso thickens,
either it’s too cold or it needs a little more water.
SANDING AND FINISHING
- I don’t recommend sanding the gesso panel between coats. Wait until the following day after it’s had a chance
to dry out.
- Sand with 400 wet/dry fine sandpaper to remove brush marks. Wear dust mask and goggles! Work outdoors if
possible.
- Finish off by gently polishing the surface with slightly damp soft, fine white linen cloth.