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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. For gold leaf, see sister site www.auricgold.com.
Earth Pigments www.earthpigments.com advertises its French pigments as natural, non-toxic,
and environmentally friendly. They offer an attractively priced beginner set of 12 colors. Many
of their colors are unique to this supplier. (See "Testing New Pigments" on Color Recipes
page.) Pigments are ground very fine, so should be supplemented with medium and coarsely
ground pigments from other suppliers. On the Earth Pigments site you will find instructions for
making your own art paints and decorating paints of many varieties.
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, with or without gesso. Allow 7-10 days for delivery of
standard boards to California, 3-4 weeks for custom boards. He offers other tools and
materials, including prepared liquid bole, as well as iconography books.
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 sides. I haven't tried these boards, but they look fine.
Kalish Finest Brushes www.kalishfinestbrushes.biz - brushes for watercolor and egg tempera.
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. For gold leaf, see sister site www.auricgold.com.
Earth Pigments www.earthpigments.com advertises its French pigments as natural, non-toxic,
and environmentally friendly. They offer an attractively priced beginner set of 12 colors. Many
of their colors are unique to this supplier. (See "Testing New Pigments" on Color Recipes
page.) Pigments are ground very fine, so should be supplemented with medium and coarsely
ground pigments from other suppliers. On the Earth Pigments site you will find instructions for
making your own art paints and decorating paints of many varieties.
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, with or without gesso. Allow 7-10 days for delivery of
standard boards to California, 3-4 weeks for custom boards. He offers other tools and
materials, including prepared liquid bole, as well as iconography books.
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 sides. I haven't tried these boards, but they look fine.
Kalish Finest Brushes www.kalishfinestbrushes.biz - brushes for watercolor and egg tempera.
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FOR LAYING OUT THE ICON AND HALO
Tracing pad, drawing pad, carbon paper, masking tape.
Compass(es) with pencil tip and optional ruling pen tip.
Rulers, drafting triangles, protractor, circle template, other
drafting templates. Ruler edges should sit slightly above the
surface, to prevent smearing paint.
Pencils including non-photo blue pencil; ball point pen.
Art erasers – gray kneaded, white rubber.
Awl or stylus with sharp metal tip, for engraving into gesso.
Tracing pad, drawing pad, carbon paper, masking tape.
Compass(es) with pencil tip and optional ruling pen tip.
Rulers, drafting triangles, protractor, circle template, other
drafting templates. Ruler edges should sit slightly above the
surface, to prevent smearing paint.
Pencils including non-photo blue pencil; ball point pen.
Art erasers – gray kneaded, white rubber.
Awl or stylus with sharp metal tip, for engraving into gesso.
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.
Tap water; or distilled or purified water, available at the supermarket.
Dedicated white porcelain mortar and pestle, largest size, from
gourmet kitchen store. Wide-mouth container with snug fitting lid.
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.
Tap water; or distilled or purified water, available at the supermarket.
Dedicated white porcelain mortar and pestle, largest size, from
gourmet kitchen store. Wide-mouth container with snug fitting lid.
Nesting strainers, fine mesh, small to medium size.
ICON BOARD OR PANEL
For egg tempera painting, you need a white or near-white surface which is absorbent, rigid, and dimensionally
stable. Dried egg tempera paint, when applied thickly or in several layers, is brittle and will crack if bent.
You will need a wood board or plywood panel, 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
natural gesso themselves - a messy job! Do not use acrylic gesso, which will not absorb egg tempera.
For practice only, smooth white Claybord® (available in art supply stores) will work acceptably. It does not absorb
paint or olifa quite as well as natural gesso. "Realgesso Panels" also look OK for practice. These panels are
thinner than wood or plywood panels, and could bend slightly, causing the dry egg tempera paint to crack. An
icon is a major project, and is worthy of high-quality archival art materials.
For egg tempera painting, you need a white or near-white surface which is absorbent, rigid, and dimensionally
stable. Dried egg tempera paint, when applied thickly or in several layers, is brittle and will crack if bent.
You will need a wood board or plywood panel, 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
natural gesso themselves - a messy job! Do not use acrylic gesso, which will not absorb egg tempera.
For practice only, smooth white Claybord® (available in art supply stores) will work acceptably. It does not absorb
paint or olifa quite as well as natural gesso. "Realgesso Panels" also look OK for practice. These panels are
thinner than wood or plywood panels, and could bend slightly, causing the dry egg tempera paint to crack. An
icon is a major project, and is worthy of high-quality archival art materials.
FOR GILDING
Abrasive pads and sandpaper in medium, fine, and very fine 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. "Double" weight is best.
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, agate or quartz with no cracks or defects.
Abrasive pads and sandpaper in medium, fine, and very fine 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. "Double" weight is best.
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, agate or quartz 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, metal stamps, or leather-tooling stamps.
make impressions with nail sets, metal stamps, or leather-tooling 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. See
instructions on Color Recipes page.
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. See
instructions on Color Recipes page.
Small jar of distilled water, with eye dropper.
For handling pigments; tiny spoons, smallest palette knife, or other
small pointed tool.
Pigments, palettes, brushes.
Pigments listed are from Sinopia except as otherwise noted.
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
Vermilion; Genuine Vermilion - a brilliant red. NOTE: Genuine Vermilion is mercury-
based and toxic, but it's the only historic pigment the produces a really nice bright red.
Use it with special care. "Cinnabar" from Earth Pigments is an acceptable substitute;
not quite the same color but very pretty and much easier to dissolve.
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.
Natural Red from Earth Pigments - intense, good for line work
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
Natural Indigo (if you can find it) – a powerful blue; may need grinding
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
S.O.F. Blue from Earth Pigments - a pretty medium blue
S.O.F. Green from Earth Pigments - bright grass green
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
Colonial Violet from Earth Pigments - intense near-black, good for line work
FOR BACKGROUND
Pale Ochre: K17000 Yellow Ochre extra pale from Cyprus
Cream: K11283 Alta Albula (Albula Pass Switzerland) – texture for roskrish
METALLIC OR MICA PIGMENT FOR FINAL TOUCHES (OPTIONAL)
Pearl Ex 657 Sparkle Gold by Jacquard Products, available at Pearl Paints. Earth
Pigments also sells mica pigments.
- Mica pigment is natural but definitely non-traditional
- Mix with yellow or orange ochre for narrow borders in final stage.
- Mica pigment is hard to remove without smearing.
Or preferably shell gold, a finely ground gold leaf mixed with gum arabic
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
Vermilion; Genuine Vermilion - a brilliant red. NOTE: Genuine Vermilion is mercury-
based and toxic, but it's the only historic pigment the produces a really nice bright red.
Use it with special care. "Cinnabar" from Earth Pigments is an acceptable substitute;
not quite the same color but very pretty and much easier to dissolve.
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.
Natural Red from Earth Pigments - intense, good for line work
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
Natural Indigo (if you can find it) – a powerful blue; may need grinding
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
S.O.F. Blue from Earth Pigments - a pretty medium blue
S.O.F. Green from Earth Pigments - bright grass green
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
Colonial Violet from Earth Pigments - intense near-black, good for line work
FOR BACKGROUND
Pale Ochre: K17000 Yellow Ochre extra pale from Cyprus
Cream: K11283 Alta Albula (Albula Pass Switzerland) – texture for roskrish
METALLIC OR MICA PIGMENT FOR FINAL TOUCHES (OPTIONAL)
Pearl Ex 657 Sparkle Gold by Jacquard Products, available at Pearl Paints. Earth
Pigments also sells mica pigments.
- Mica pigment is natural but definitely non-traditional
- Mix with yellow or orange ochre for narrow borders in final stage.
- Mica pigment is hard to remove without smearing.
Or preferably 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 (no clamp lamps). 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 or airborne particles.
Terry hand towel on which to rest your icon while working on it – and to wrap it for transporting. Tote bag(s) or a
cloth brief case or a rolling 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, with edges that sit slightly above the surface. Compass(es) with pencil tip and ruling pen tip.
Optional: Circle templates, other drafting templates, drafting triangles. 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 smoothly over large faces.
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 (no clamp lamps). 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 or airborne particles.
Terry hand towel on which to rest your icon while working on it – and to wrap it for transporting. Tote bag(s) or a
cloth brief case or a rolling 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, with edges that sit slightly above the surface. Compass(es) with pencil tip and ruling pen tip.
Optional: Circle templates, other drafting templates, drafting triangles. 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 smoothly over large faces.
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
I do not recommend lead-based, arsenic-based, cadmium-based, or cobalt-based pigments - many are
historic, but they are toxic. Non-toxic alternatives are available. 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. If in doubt, test pigments and mixtures on lined or
graph paper to check color and coverage. See color recipes page.
Pigments have texture and "personality" as well as color. Some pigments go by several different names, and some
names apply to more than one color - very confusing. The numbers and descriptions below 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, arsenic-based, cadmium-based, or cobalt-based pigments - many are
historic, but they are toxic. Non-toxic alternatives are available. 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. If in doubt, test pigments and mixtures on lined or
graph paper to check color and coverage. See color recipes page.
Pigments have texture and "personality" as well as color. Some pigments go by several different names, and some
names apply to more than one color - very confusing. The numbers and descriptions below are transcribed from
the labels on my jars, some of which were purchased several years ago. These pigments last a long time!
My traveling icon studio includes a large towel to cover the table; pigments in small lidded containers; egg
tempera base and distilled water with eye droppers; plastic palettes; a mug with paper cup for rinse water;
brushes, pencils, rulers, palette knives, lined paper, Q-tips, work lamp, and of course icon boards.
If you would like to prepare and gesso your own board, you will find a materials list and
instructions on the Studio Tips page.
Once you have a board and basic supplies, you are ready to select a pattern and lay out
the icon on its board.
Forward to Color Recipes
Forward to Gilding
Back to Home Page
Back to Main Technical Page
tempera base and distilled water with eye droppers; plastic palettes; a mug with paper cup for rinse water;
brushes, pencils, rulers, palette knives, lined paper, Q-tips, work lamp, and of course icon boards.
If you would like to prepare and gesso your own board, you will find a materials list and
instructions on the Studio Tips page.
Once you have a board and basic supplies, you are ready to select a pattern and lay out
the icon on its board.
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.
Below; something to dream about - a full set of Kalish brushes! This is way more brushes than you really
need, and many more than I use. The small size "liner" brushes are especially useful.
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.
Below; something to dream about - a full set of Kalish brushes! This is way more brushes than you really
need, and many more than I use. The small size "liner" brushes are especially useful.
The owner of these well-
organized tools and
pigments has been
working in egg tempera for
20 years!
The entire kit fits into a
large 3-level plastic tool
box. There are more
pigments down below the
tray. Templates line the
side of the box, and there's
a space for Q-tips.
You will start with 12 to 24
pigments, and gradually
add more to your supplies.
Unless you buy a set in
small jars, most pigments
will come in jam-jar size
containers like those
shown below. Buy small
containers with secure lids
for easier carrying and
use. Share small amounts
of pigments with your
fellow artists; each jam jar
holds enough for hundreds
of icons!
organized tools and
pigments has been
working in egg tempera for
20 years!
The entire kit fits into a
large 3-level plastic tool
box. There are more
pigments down below the
tray. Templates line the
side of the box, and there's
a space for Q-tips.
You will start with 12 to 24
pigments, and gradually
add more to your supplies.
Unless you buy a set in
small jars, most pigments
will come in jam-jar size
containers like those
shown below. Buy small
containers with secure lids
for easier carrying and
use. Share small amounts
of pigments with your
fellow artists; each jam jar
holds enough for hundreds
of icons!
Alternative: Prepared liquid bole mix from www.pandora-store.com - nice and smooth, but thin on top. Stir well.
Eggs for egg tempera paint, just as for eating, should ideally be freshly laid by happy free-range chickens. I like
the beautiful "extra large" and "jumbo" brown eggs from the farmers' market. If that doesn't work out, grocery
store eggs are perfectly OK. Eggs will stay sufficiently fresh for 2 weeks if refrigerated.
Duck and goose eggs have thicker, yellower, more viscous yolks than chicken eggs, and are considered highly
desirable for iconography if you can get them. Use a double quantity of white wine for a duck egg, triple quantity
for a goose egg.
Water - this site frequently refers to distilled water. Distilled and purified water are inexpensively available in
gallon jugs from the grocery store; and are recommended if your tap water has a high mineral content. If your
locality has high-quality tap water with little mineral content, go ahead and use tap water.
the beautiful "extra large" and "jumbo" brown eggs from the farmers' market. If that doesn't work out, grocery
store eggs are perfectly OK. Eggs will stay sufficiently fresh for 2 weeks if refrigerated.
Duck and goose eggs have thicker, yellower, more viscous yolks than chicken eggs, and are considered highly
desirable for iconography if you can get them. Use a double quantity of white wine for a duck egg, triple quantity
for a goose egg.
Water - this site frequently refers to distilled water. Distilled and purified water are inexpensively available in
gallon jugs from the grocery store; and are recommended if your tap water has a high mineral content. If your
locality has high-quality tap water with little mineral content, go ahead and use tap water.