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Betsy Porter
Art and Iconography
SUPPLY LIST AND SOURCES
Art and Iconography
SUPPLY LIST AND SOURCES
- MATERIALS AND SUPPLIES
This is a reasonably complete list of the iconography supplies and
equipment that I’ve gradually accumulated over the years.
I suggest that you take an workshop, to see which items are most
useful to you, before investing in a complete list of supplies. If
you are attending a workshop, most items for classroom use will
be provided.
Keep pigments and other adult art supplies out of reach of young children.
RESOURCES – ICONOGRAPHY SUPPLIES AND EQUIPMENT
Sinopia of San Francisco www.sinopia.com, in collaboration with Kremer Pigments of New
York City, specializes in ground pigments; also other tools and materials such as gold leaf,
brushes, etc.
Natural Pigments www.naturalpigments.com offers unusual and historic pigments, as well
as other tools and supplies - affiliated with Iconofile www.iconofile.com.
Irene Perez-Omer www.iconarts.com offers pigments and supplies. Her pigment kit is
especially recommended for beginners.
Stanislav Solovyev www.iconboards.com or www.pandora-store.com manufactures
standard-size and custom icon boards and panels. Allow 7-10 days for delivery of standard
boards to California, 3-4 weeks for custom boards. He offers other tools and materials, and
iconography books, as well.
Kovcheg www.kovcheg.us offers icon boards and panels in a variety of styles. Some styles
are not gessoed on the sides. They also offer gold leaf and other supplies. I cannot find a
price list on this site, and have not yet purchased anything from them.
Realgesso Panels www.realgesso.com/panels are natural gesso over 1/4-inch hardboard.
Although I haven't tried them, they look just fine for practice.
Religious Supply www.religious-supply.com carries icon boards and panels imported from
Russia. Some styles are not gessoed on the sides. I haven't tried these boards, but they
look fine.
Sinopia of San Francisco www.sinopia.com, in collaboration with Kremer Pigments of New
York City, specializes in ground pigments; also other tools and materials such as gold leaf,
brushes, etc.
Natural Pigments www.naturalpigments.com offers unusual and historic pigments, as well
as other tools and supplies - affiliated with Iconofile www.iconofile.com.
Irene Perez-Omer www.iconarts.com offers pigments and supplies. Her pigment kit is
especially recommended for beginners.
Stanislav Solovyev www.iconboards.com or www.pandora-store.com manufactures
standard-size and custom icon boards and panels. Allow 7-10 days for delivery of standard
boards to California, 3-4 weeks for custom boards. He offers other tools and materials, and
iconography books, as well.
Kovcheg www.kovcheg.us offers icon boards and panels in a variety of styles. Some styles
are not gessoed on the sides. They also offer gold leaf and other supplies. I cannot find a
price list on this site, and have not yet purchased anything from them.
Realgesso Panels www.realgesso.com/panels are natural gesso over 1/4-inch hardboard.
Although I haven't tried them, they look just fine for practice.
Religious Supply www.religious-supply.com carries icon boards and panels imported from
Russia. Some styles are not gessoed on the sides. I haven't tried these boards, but they
look fine.
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FOR LAYING OUT THE ICON
Tracing pad, drawing pad, carbon paper, masking tape.
Compass(es) with pencil tip and ruling pen tip.
Rulers, circle template, other drafting templates.
Rulers should sit slightly above the surface
Pencils including non-photo blue pencil; ball point pen.
Art erasers – gray kneaded, white rubber.
Awl or stylus with sharp metal tip.
Tracing pad, drawing pad, carbon paper, masking tape.
Compass(es) with pencil tip and ruling pen tip.
Rulers, circle template, other drafting templates.
Rulers should sit slightly above the surface
Pencils including non-photo blue pencil; ball point pen.
Art erasers – gray kneaded, white rubber.
Awl or stylus with sharp metal tip.
FOR MAKING BOLE MIXTURE
Red bole paste or powder – “Falcon Bole” paste from Sinopia.
Animal skin glue, such as “Titebond Liquid Hide Wood Glue” –
special order from True Value Hardware or Amazon.com.
Distilled or purified water, available at the supermarket.
Dedicated white porcelain mortar and pestle, largest size, from
gourmet kitchen store.
Nesting strainers, fine mesh, small to medium size.
Red bole paste or powder – “Falcon Bole” paste from Sinopia.
Animal skin glue, such as “Titebond Liquid Hide Wood Glue” –
special order from True Value Hardware or Amazon.com.
Distilled or purified water, available at the supermarket.
Dedicated white porcelain mortar and pestle, largest size, from
gourmet kitchen store.
Nesting strainers, fine mesh, small to medium size.
ICON BOARD OR PANEL
Wood or plywood, covered with white natural gesso, mixed from animal-skin glue, chalk dust, and marble dust.
I buy them professionally prepared, but some iconographers prefer to apply the gesso themselves. Do not use
acrylic gesso, because it will not absorb egg tempera.
For practice or in a pinch, smooth white Claybord® (available in art supply stores) or will work acceptably. It does
not absorb paint or olifa quite as well as natural gesso. "Realgesso Panels" also look OK for practice.
Wood or plywood, covered with white natural gesso, mixed from animal-skin glue, chalk dust, and marble dust.
I buy them professionally prepared, but some iconographers prefer to apply the gesso themselves. Do not use
acrylic gesso, because it will not absorb egg tempera.
For practice or in a pinch, smooth white Claybord® (available in art supply stores) or will work acceptably. It does
not absorb paint or olifa quite as well as natural gesso. "Realgesso Panels" also look OK for practice.
FOR GILDING
Abrasive pads and sandpaper in increasingly finer grits; with
dedicated scissors.
23 or 24 Kt gold leaf for “water gilding” – do not get the “patent” or
“oil gilding” type. Dedicated sharp scissors.
Wax paper, cut into sheets slightly larger than the gold leaf.
Soft wide brush – a round “gilder’s mop” is ideal.
Agate burnishing tool on a stick – or a smooth, hard, highly polished
tumbled stone with no cracks or defects.
Abrasive pads and sandpaper in increasingly finer grits; with
dedicated scissors.
23 or 24 Kt gold leaf for “water gilding” – do not get the “patent” or
“oil gilding” type. Dedicated sharp scissors.
Wax paper, cut into sheets slightly larger than the gold leaf.
Soft wide brush – a round “gilder’s mop” is ideal.
Agate burnishing tool on a stick – or a smooth, hard, highly polished
tumbled stone with no cracks or defects.
For making impressed designs, a metal craft tool with rounded tip. For larger-scale designs, use a tack hammer to
make impressions with nail sets or metal stamps.
make impressions with nail sets or metal stamps.
FOR PAINTING AND HIGHLIGHTING
Egg tempera base (juice of one egg yolk plus 2 tablespoons
dry white wine), made fresh at least weekly, with eye dropper.
Small jar of distilled water, with eye dropper.
For handling pigments; tiny spoons, smallest palette knife, or
other small pointed tool.
Pigments, palettes, brushes.
Egg tempera base (juice of one egg yolk plus 2 tablespoons
dry white wine), made fresh at least weekly, with eye dropper.
Small jar of distilled water, with eye dropper.
For handling pigments; tiny spoons, smallest palette knife, or
other small pointed tool.
Pigments, palettes, brushes.
WHITE: Titanium White: PW6 Rutile Opaque Artist Grade
YELLOWS, GOLDS, AND NEUTRALS
Gold Ochre; K4001 French Ocher JTCLES Clear Yellow
Yellow Ochre; K4006 JALS warm yellow from France
Orange Ochre; K4032 Italian Dark Ocher Transparent Orangish
Green Ochre; K4020 Yellow Ochre AVANA greenish from France
Dark Ochre; K4024 Fawn Ocher German Light
Brown Ochre; K40231 German Ochre light warm brown
Bright Yellow; K4350X Cobalt Yellow, Aureolin
Dark Indian Yellow; K2335W Indian Yellow Imitation
REDS, RED-BROWNS, RED-VIOLETS
Earth Orange; K41600 Terre Ercolano Mixed Orange Earths from Italy
Red Ochre; K4009 French Ochre SOFOROUGE red
Venetian Red; K4051 Venetian Red Earth (cool red hue) from Italy
Vermillion; Genuine Vermillion
Burnt Siena; K40450 red brown from England
Light or Red Hematite; K48650 Hematite Rich Red from Arizona
Dark Hematite; K4860 Hematite (slightly coarse aggregate) from Arizona
Iron Oxide; K52400 Translucent Iron Oxide Red PR 101 – texture for roskrish
NOTE: Hematite and iron oxide are like finely ground rust or iron ore.
They are heavy and will sink in your palette. Mix extra paint and use only the top.
GREENS AND BLUES
Terra Verte; K4175 Vagone Green Earth cont. Prussian Blue & Chrome Oxide
Idanthren Blue or Indigo Blue Substitute; PR88 (indigo shade)
Dark, intense, and inky, a little goes a long way
Real Indigo (if you can find it) – a powerful blue for 2nd and 3rd floats
Lazurite (ground lapis lazuli) – available from Natural Pigments.com
Has very little color, but provides sparkle in 3rd float. Apply thinly.
Maya Blau; 36007 (a Kremer number) – texture for roskrish
DARKS
Burnt Umber; K4072 Burnt Umber, Cyprus, Very Dark
Shungite; a blue-black available from Natural Pigments.com; my preference
Or Black; K47150 Ivory Black Imitation mixed bone black & iron oxide
Or Vine Black; PBK8
FOR BACKGROUND
Pale Ochre: K17000 Yellow Ochre extra pale from Cyprus
Cream: K11283 Alta Albula (Albula Pass Switzerland) – texture for roskrish
METALLIC FOR FINAL TOUCHES
Pearl Ex 657 Sparkle Gold by Jacquard Products, available at Pearl Paints
Mica pigment, definitely non-traditional
Mix with yellow or orange ochre for narrow borders in final stage
Or shell gold, a finely ground gold leaf mixed with gum arabic
YELLOWS, GOLDS, AND NEUTRALS
Gold Ochre; K4001 French Ocher JTCLES Clear Yellow
Yellow Ochre; K4006 JALS warm yellow from France
Orange Ochre; K4032 Italian Dark Ocher Transparent Orangish
Green Ochre; K4020 Yellow Ochre AVANA greenish from France
Dark Ochre; K4024 Fawn Ocher German Light
Brown Ochre; K40231 German Ochre light warm brown
Bright Yellow; K4350X Cobalt Yellow, Aureolin
Dark Indian Yellow; K2335W Indian Yellow Imitation
REDS, RED-BROWNS, RED-VIOLETS
Earth Orange; K41600 Terre Ercolano Mixed Orange Earths from Italy
Red Ochre; K4009 French Ochre SOFOROUGE red
Venetian Red; K4051 Venetian Red Earth (cool red hue) from Italy
Vermillion; Genuine Vermillion
Burnt Siena; K40450 red brown from England
Light or Red Hematite; K48650 Hematite Rich Red from Arizona
Dark Hematite; K4860 Hematite (slightly coarse aggregate) from Arizona
Iron Oxide; K52400 Translucent Iron Oxide Red PR 101 – texture for roskrish
NOTE: Hematite and iron oxide are like finely ground rust or iron ore.
They are heavy and will sink in your palette. Mix extra paint and use only the top.
GREENS AND BLUES
Terra Verte; K4175 Vagone Green Earth cont. Prussian Blue & Chrome Oxide
Idanthren Blue or Indigo Blue Substitute; PR88 (indigo shade)
Dark, intense, and inky, a little goes a long way
Real Indigo (if you can find it) – a powerful blue for 2nd and 3rd floats
Lazurite (ground lapis lazuli) – available from Natural Pigments.com
Has very little color, but provides sparkle in 3rd float. Apply thinly.
Maya Blau; 36007 (a Kremer number) – texture for roskrish
DARKS
Burnt Umber; K4072 Burnt Umber, Cyprus, Very Dark
Shungite; a blue-black available from Natural Pigments.com; my preference
Or Black; K47150 Ivory Black Imitation mixed bone black & iron oxide
Or Vine Black; PBK8
FOR BACKGROUND
Pale Ochre: K17000 Yellow Ochre extra pale from Cyprus
Cream: K11283 Alta Albula (Albula Pass Switzerland) – texture for roskrish
METALLIC FOR FINAL TOUCHES
Pearl Ex 657 Sparkle Gold by Jacquard Products, available at Pearl Paints
Mica pigment, definitely non-traditional
Mix with yellow or orange ochre for narrow borders in final stage
Or shell gold, a finely ground gold leaf mixed with gum arabic
Kilo Munoz painting Archangel Raphael
Note that only small amounts of
pigment are required to make enough
paint for each color. This method is
very economical in its use of pigments.
Note that only small amounts of
pigment are required to make enough
paint for each color. This method is
very economical in its use of pigments.
BASIC ART EQUIPMENT
Good lighting. For workshops, bring a portable desk lamp that sits on top of the table. If you are over 40 or have
any difficulties with your eyesight, I strongly recommend a magnifying visor with 14-inch focal length, such as
“Optivisor DA-3,” available at craft stores, hobby stores, jewelry supply stores.
Optional: Face mask if you are allergic to dust.
Terry hand towel on which to rest your icon while working on it – and to wrap it for transporting. Tote bag(s) or
cloth brief case in which to transport your icon and supplies.
Watercolor palettes – white plastic or white porcelain. Wells should be rounded, without square corners.
Watercolor brushes, natural bristle; available at art supply stores as well as from suppliers listed above. Include
small size round brushes (No. 4, 2, 1, 0, and smaller) that come to a fine point. Include a very fine brush, such as
Princeton 20/0 Liner or the slightly shorter Princeton 20/0 Monogram, for detail work. (If you insist on painting in oil
or acrylics, use synthetic-fiber brushes rather than natural fiber.)
Rulers that sit slightly above the surface. Compass(es) with pencil tip and ruling pen tip.
Optional: Circle templates and other drafting templates. Optional: Ruling pen for straight lines.
Cotton swabs such as Q-Tips; also facial tissue, paper cups, sketch pads, eye droppers. Optional; sponge-tip eye
shadow applicators for blending paint.
Small to medium jars and containers with tight fitting lids, for liquids and pigments. Measuring spoons and
measuring cup; disposable plastic flatware.
For handling pigments – tiny spoons or smallest available pointed palette knife.
Good lighting. For workshops, bring a portable desk lamp that sits on top of the table. If you are over 40 or have
any difficulties with your eyesight, I strongly recommend a magnifying visor with 14-inch focal length, such as
“Optivisor DA-3,” available at craft stores, hobby stores, jewelry supply stores.
Optional: Face mask if you are allergic to dust.
Terry hand towel on which to rest your icon while working on it – and to wrap it for transporting. Tote bag(s) or
cloth brief case in which to transport your icon and supplies.
Watercolor palettes – white plastic or white porcelain. Wells should be rounded, without square corners.
Watercolor brushes, natural bristle; available at art supply stores as well as from suppliers listed above. Include
small size round brushes (No. 4, 2, 1, 0, and smaller) that come to a fine point. Include a very fine brush, such as
Princeton 20/0 Liner or the slightly shorter Princeton 20/0 Monogram, for detail work. (If you insist on painting in oil
or acrylics, use synthetic-fiber brushes rather than natural fiber.)
Rulers that sit slightly above the surface. Compass(es) with pencil tip and ruling pen tip.
Optional: Circle templates and other drafting templates. Optional: Ruling pen for straight lines.
Cotton swabs such as Q-Tips; also facial tissue, paper cups, sketch pads, eye droppers. Optional; sponge-tip eye
shadow applicators for blending paint.
Small to medium jars and containers with tight fitting lids, for liquids and pigments. Measuring spoons and
measuring cup; disposable plastic flatware.
For handling pigments – tiny spoons or smallest available pointed palette knife.
MY FAVORITE NATURAL PIGMENTS; from Sinopia unless otherwise noted
I do not recommend lead-based or arsenic-based pigments. If you are sensitive to airborne particles, use a dust
mask when handling pigments. Store pigments in containers with tight fitting lids, and replace lids promptly.
If you are ultra sensitive, mix your egg base with tube watercolors – I haven’t tried this, but it should work OK as
long as an opaque white is included.
There are many more pigments out there, so try a few of them! In my experience all, or almost all, natural
pigments look good together. Be cautious with chemical pigments, not only because they produce a non-
traditional “look” but because the colors tend to clash with those of natural pigments.
The numbers and descriptions are transcribed from the labels on my jars, some of which were purchased several
years ago. These pigments last a long time!
I do not recommend lead-based or arsenic-based pigments. If you are sensitive to airborne particles, use a dust
mask when handling pigments. Store pigments in containers with tight fitting lids, and replace lids promptly.
If you are ultra sensitive, mix your egg base with tube watercolors – I haven’t tried this, but it should work OK as
long as an opaque white is included.
There are many more pigments out there, so try a few of them! In my experience all, or almost all, natural
pigments look good together. Be cautious with chemical pigments, not only because they produce a non-
traditional “look” but because the colors tend to clash with those of natural pigments.
The numbers and descriptions are transcribed from the labels on my jars, some of which were purchased several
years ago. These pigments last a long time!
Once you have a board and basic supplies, you are ready to lay out the icon on its board.
Forward to Color Recipes
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Back to Main Technical Page
Forward to Color Recipes
Forward to Gilding
Back to Home Page
Back to Main Technical Page
Note: Many iconographers like to grind pigments in a few drops of liquid, for a smoother texture. For medium
quantities, use a small white porcelain mortar and pestle, available at import stores. Get at least 3 for different
colors, because the inside of the mortar is textured and will retain color. For small quantities, use a glass swizzle
stick or cocktail stirrer, available at import stores, to grind pigments in a porcelain palette with rounded wells.
quantities, use a small white porcelain mortar and pestle, available at import stores. Get at least 3 for different
colors, because the inside of the mortar is textured and will retain color. For small quantities, use a glass swizzle
stick or cocktail stirrer, available at import stores, to grind pigments in a porcelain palette with rounded wells.