Most icon workshops use the traditional media of gesso on a wooden board, tempura paints, and gold leaf. Some favor acrylic paints that simplify the production slightly (saves grinding pigments, separating egg yolks, etc.). This media also changes part of the sequence of steps.
In traditional workshops, the creation of an icon is considered serious spiritual work. It's accompanied by prayer, contemplation, sacred music, worship with the Sacraments, and done in silence or quiet, meditative discussion.
I have painted four icons completely by myself and participated in the creation of about another dozen more - all using acrylic paints. That makes me an utter novice.
When following the method I've been taught (using acrylics) the steps in creating an icon are roughly:
- Selection of the prototype - choosing, sizing, contemplating, interpreting the image to be created
- Creating the board - cutting, trimming, sanding (reinforcing) a solid wood or plywood panel
- Preparing the gesso - mixing, coating, sanding, linen cloth, more coats and sanding
- Placing major image lines - sketching, tracing or scratching the icon's outline onto the gesso
- Blocks of color - using the outlines, put in the major color blocks in multiple coats until solid
- Tracing minor lines - placing fold lines, facial features, and other lines on top of the color blocks
- Shading- adding light to the clothing by multiple layers of lighter colors
- Skin / Hair - Sankir (greenish color) represents face and hands, then many layers of other colors
- More work on faces - adding shading, striping, character lines, etc.
- Gold Assist - adding lines and trim to the clothing, ground, buildings, etc.
- Gold leaf to the field and halos
- Final details, pinstriping and labels
- Varnishing or sealing;
- Painting the back and sides
- Blessing the icon
CREATING A SMALL ICON
It takes 30 or more hours to complete an 8 x 10 inch icon. Here is the record of the one I did most recently in an icon class in the San Diego area.
RESEARCH
I was looking for a meaningful image to do at my next icon class. I chose a variation on a form known as the Virgin Orans. Here are two icons of this type:
My selection is called the Mother of God Albazin. You can read about its history on this page.
This icon was written by a private Moscow iconographer and was presented to Father Dionisy Pozdnyaev on his name's day (October 2000). The icon was at his home in Moscow at the time and then it was brought to Hong Kong when Fr Dionisy moved to Hong Kong.
The actual icon is currently at the Church of the Holy Apostles Peter and Paul. The icon last traveled to Beijing in celebration of its feast day of March 2005. Here is a photo of the event, and the icon is at the front right.
This photo shows you the scale of the original (on the left) and our simplified, smaller version on the right. Remember we had to finish in five days of about 6-7 hours a day.
WORK IN PROGRESS
The boards are prepared.
The original is transferred to an outline drawing on tracing paper.
The outline partially transferred to the gesso-coated board using carbon paper.
The first phase of the tracing is complete.
Beginning to apply the first color - Indian Red Oxide
Final appearance after many thin coats
Now we have applied Storm Blue and some Warm Beige
The face and hands are done in a color called Sankir
Here the base colors are complete and I have transferred internal lines with the carbon paper.
The background is painted in red so any gold "holidays" (gaps in the gilding) will be visible.
Trim around Mary and the edge of Jesus' mandorla (oval) are now colored too.
Working on the face - applying the first colors to the areas that will eventually be the lightest
Both Mary and Jesus are getting paint.
Notice the shading on her garment which gives a 3-D appearance.
More coats provide this appearance.
Getting closer, but still a long way to go. I haven't started the hands at this point.
Finishing up the facial features. Notice the dark outlines on the eyes.
The hands and Jesus' body are almost finished.
Ready for the gold.
At this point I've put gold on the stars on her garment and the lines behind Jesus.
Applying the gold leaf to the background results in this:
And when the background is completely covered, the gold leaf is pretty rough.
Some polishing and clean-up, and it now looks better.
Pinstripe and labeling, plus "gold assist" (trim and details)
Texturing the edge
Final appearance
Other people in my class applied different detailing on the gold background.
The faces vary depending on our image of Mary's expression, and our skill.
The shadows and shading reflect our interpretation of light and dark.
They are all the same icon, but different!
Here we are, after the blessing of the icons service.
They are ready to go to our homes.
