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Betsy Porter
Art and Iconography
FINISHING TOUCHES FOR YOUR ICON
Art and Iconography
FINISHING TOUCHES FOR YOUR ICON
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LINES AND BORDERS - They frame the icon, cover messy edges, and add visual
interest. You can use the ruling pen to make especially neat, straight borders; or you can
paint them freehand.
Paint a line, a scant 1/8 inch thick, around the very edge of the icon, between the
paint on the surface and the red clay bole at the edge. Olive green is the customary color
and usually looks fine, but sometimes another dark color such as midnight blue or dark
brown is more harmonious with the other colors of the icon.
I enjoy the handmade quality of a freehand line. First, use a ruler and pencil to lightly
draw the line in place. Using a fine brush and full-strength paint, go around the border,
then around again and again for 3 or 4 repetitions. The line looks weak and raggedy at
first, but gradually gains strength and color. Use the ruling pen with a straightedge if you
prefer a very regular line.
You may have 2 background colors, one for the inner background and one for the outer;
in which case they may be separated by a line somewhat thinner than the outer edge line.
interest. You can use the ruling pen to make especially neat, straight borders; or you can
paint them freehand.
Paint a line, a scant 1/8 inch thick, around the very edge of the icon, between the
paint on the surface and the red clay bole at the edge. Olive green is the customary color
and usually looks fine, but sometimes another dark color such as midnight blue or dark
brown is more harmonious with the other colors of the icon.
I enjoy the handmade quality of a freehand line. First, use a ruler and pencil to lightly
draw the line in place. Using a fine brush and full-strength paint, go around the border,
then around again and again for 3 or 4 repetitions. The line looks weak and raggedy at
first, but gradually gains strength and color. Use the ruling pen with a straightedge if you
prefer a very regular line.
You may have 2 background colors, one for the inner background and one for the outer;
in which case they may be separated by a line somewhat thinner than the outer edge line.
CORNER TREATMENTS can be very simple or more elaborate. Some iconographers shun them as frivolous or as
distracting from the main theme - but I like the way they adorn the icon and provide a visual frame.
Leaves and flowers make good corner decorations, but abstract designs are also suitable.
distracting from the main theme - but I like the way they adorn the icon and provide a visual frame.
Leaves and flowers make good corner decorations, but abstract designs are also suitable.
If your board has a wide outer margin, you will have room for more elaborate borders
and corner decorations, or even for miniature icons such as the angel above.
It's really hard to paint figures at this scale, especially the tiny face! If you want to try
this, plan the corner icon in advance, and gild the halo before painting.
You can paint entire borders in ornate floral, leafy, or interlacing Celtic motifs. Allow
plenty of time; the green border at upper right took me 10 hours.
Although borders and corner ornaments may be planned in advance, it is best to wait
until the icon is nearly finished to paint them, so that they won't smear. To make the
painting easier, I rest my hand on a stack of palettes the same height as the board
thickness.
A wide border is a good place for inscriptions.
and corner decorations, or even for miniature icons such as the angel above.
It's really hard to paint figures at this scale, especially the tiny face! If you want to try
this, plan the corner icon in advance, and gild the halo before painting.
You can paint entire borders in ornate floral, leafy, or interlacing Celtic motifs. Allow
plenty of time; the green border at upper right took me 10 hours.
Although borders and corner ornaments may be planned in advance, it is best to wait
until the icon is nearly finished to paint them, so that they won't smear. To make the
painting easier, I rest my hand on a stack of palettes the same height as the board
thickness.
A wide border is a good place for inscriptions.
FINISHING THE EYES – Your final lines should include careful work
around the eyes. Adjust eyes, lashes, eyebrows, and shadows under the eyes
for symmetry. Refine the pupils and the lines around the irises. The pupil
should be completely visible, but close to the upper eyelid.
Eyebrows, upper lashes, pupils, and lines around the irises are black. All
other flesh lines are dark red.
Float the iris brown (same as hair).
Use pure white on your smallest brush, almost dry, to paint the whites of the
eyes – tiny triangles or crescents on one side of the iris, and slightly separated
from the iris. Your icon saint will gaze in the direction away from the whites of
the eyes.
FINISHING THE MOUTH – Carefully delineate the mouth with dark red
lines. The upper lip has squarish (not pointy) ends and remains in shadow.
The lower lip is strongly highlighted, has rounded corners, and is only about
half the length of the upper lip. Float the lips red (same as red garment).
around the eyes. Adjust eyes, lashes, eyebrows, and shadows under the eyes
for symmetry. Refine the pupils and the lines around the irises. The pupil
should be completely visible, but close to the upper eyelid.
Eyebrows, upper lashes, pupils, and lines around the irises are black. All
other flesh lines are dark red.
Float the iris brown (same as hair).
Use pure white on your smallest brush, almost dry, to paint the whites of the
eyes – tiny triangles or crescents on one side of the iris, and slightly separated
from the iris. Your icon saint will gaze in the direction away from the whites of
the eyes.
FINISHING THE MOUTH – Carefully delineate the mouth with dark red
lines. The upper lip has squarish (not pointy) ends and remains in shadow.
The lower lip is strongly highlighted, has rounded corners, and is only about
half the length of the upper lip. Float the lips red (same as red garment).
OZHIVKI ("LIFE-GIVING LINES") - Those thin, whisker-like parallel
lines, especially around the eyes, represent the uncreated light of God! They
are the final highlight for your icon. Apply them with your thinnest brush, fairly
dry. They should highlight the main facial and flesh areas, and often occur in
sets of two or three parallel or radiating lines.
Hair, clothing, and symbolic items in the hands may also receive ozhivki - but
much more sparingly than face, hands, and throat.
lines, especially around the eyes, represent the uncreated light of God! They
are the final highlight for your icon. Apply them with your thinnest brush, fairly
dry. They should highlight the main facial and flesh areas, and often occur in
sets of two or three parallel or radiating lines.
Hair, clothing, and symbolic items in the hands may also receive ozhivki - but
much more sparingly than face, hands, and throat.
When the icon is nearly finished, paint a thin pure white line around the halo, just outside the red line, and
about half the thickness of the red line. If you do this with the ruling pen compass, it makes a beautiful circle but
digs a hole in the face - so I prefer to do it freehand. You have now returned to the white of the original board, a
reminder that it's time to start thinking about your next icon.
about half the thickness of the red line. If you do this with the ruling pen compass, it makes a beautiful circle but
digs a hole in the face - so I prefer to do it freehand. You have now returned to the white of the original board, a
reminder that it's time to start thinking about your next icon.
MARY'S STARS
Mary is identified by her three 8-pointed
"stars of perfection" - one on each
shoulder and one above her forehead.
Using a circle template and light pencil
line, you can easily position these stars
and make them a uniform size. Start with
a spot of light yellow paint at the center of
the star, then paint in the 4 main points,
then the 4 lesser points (which may be of
a different shape) and additional decor.
Mary is identified by her three 8-pointed
"stars of perfection" - one on each
shoulder and one above her forehead.
Using a circle template and light pencil
line, you can easily position these stars
and make them a uniform size. Start with
a spot of light yellow paint at the center of
the star, then paint in the 4 main points,
then the 4 lesser points (which may be of
a different shape) and additional decor.
Clothing for Mary and other female saints is often embellished
with fringes, embroidery, and small jewels, especially at the
hemline. Wait until the icon is almost finished before painting
these delicate trimmings! Work carefully, and use your smallest
brush, quite dry.
Lay out fringes using a ruler and light pencil line, to keep them
parallel and of even length. The fringes may have their own
adornments of knots and tassels. The area behind fringes
should be dark, with minimal highlighting.
with fringes, embroidery, and small jewels, especially at the
hemline. Wait until the icon is almost finished before painting
these delicate trimmings! Work carefully, and use your smallest
brush, quite dry.
Lay out fringes using a ruler and light pencil line, to keep them
parallel and of even length. The fringes may have their own
adornments of knots and tassels. The area behind fringes
should be dark, with minimal highlighting.
SYMBOLIC OBJECTS - Teachers and prophets hold books and
scrolls, but many saints and angels hold other symbolic objects that help us
identify them.
Archangels carry a slender spear and often a translucent globe or disc.
These are like an orb and scepter, indicating the angel's high status. The
spear is also a hiking stick, to show that the angel is on a journey. Although
the spear is too delicate to function well as a weapon, it does evoke the
angelic calling to defend the universe against evil.
Warrior saints also carry spears - again too slender to do much physical
damage, but an emblem of their battle against evil.
Position your straightedge carefully, and use a ruling pen to draw the spear.
scrolls, but many saints and angels hold other symbolic objects that help us
identify them.
Archangels carry a slender spear and often a translucent globe or disc.
These are like an orb and scepter, indicating the angel's high status. The
spear is also a hiking stick, to show that the angel is on a journey. Although
the spear is too delicate to function well as a weapon, it does evoke the
angelic calling to defend the universe against evil.
Warrior saints also carry spears - again too slender to do much physical
damage, but an emblem of their battle against evil.
Position your straightedge carefully, and use a ruling pen to draw the spear.
Each archangel's
spear has a head of
distinctive design -
this one is Uriel's.
spear has a head of
distinctive design -
this one is Uriel's.
The translucent globe or disc comes from ancient times, when
a royal messenger would carry a metal disc emblazoned with the
recognizable symbol of his king. Since saints and angels serve
God, various emblems or reminders of God may be used here.
Sometimes the face of Christ Emmanuel appears in the globe!
Wait until the very end to paint the globe or disc. Use a circle
template to help in laying it out in an attractive size and location.
Once positioned, you can paint the edge freehand over a light
pencil line, or you can paint a larger globe with a ruling pen
compass. The globe may be defined by 2 or 3 concentric circles.
Then fill in the center with a dilute float of the same pale yellow
or blue color. The garments underneath show right through the
globe - a very striking effect!
The same technique was used for the translucent alabaster jar.
a royal messenger would carry a metal disc emblazoned with the
recognizable symbol of his king. Since saints and angels serve
God, various emblems or reminders of God may be used here.
Sometimes the face of Christ Emmanuel appears in the globe!
Wait until the very end to paint the globe or disc. Use a circle
template to help in laying it out in an attractive size and location.
Once positioned, you can paint the edge freehand over a light
pencil line, or you can paint a larger globe with a ruling pen
compass. The globe may be defined by 2 or 3 concentric circles.
Then fill in the center with a dilute float of the same pale yellow
or blue color. The garments underneath show right through the
globe - a very striking effect!
The same technique was used for the translucent alabaster jar.
Different saints are accompanied by their own
personal objects, or sometimes by animals or birds.
If you don't know how to draw it, find a picture you like, and
practice on paper! For plants and animals, nature guides
are very helpful. And if the real thing (like the basket at
left) is available, that's even better.
personal objects, or sometimes by animals or birds.
If you don't know how to draw it, find a picture you like, and
practice on paper! For plants and animals, nature guides
are very helpful. And if the real thing (like the basket at
left) is available, that's even better.
CHECKING OVER YOUR ICON - Now your icon is all painted! Or is it? You are your own best critic.
The borders are completed, the lettering is in place, the ozhivki look beautiful, and all the finishing touches are done.
Now is the time to check it over. The bole on the edge of the board may have developed nicks or thin spots. The
red halo line generally needs a touch-up.
Check your shadows and highlights, especially on face and throat. Verify that shadows around and under
the eyes are symmetrical. Also check highlights on the lower face, so important to facial expression.
You may want to refine the face by adding dilute highlights. If you have over-highlighted, you can restore shadows
to their proper depth with dark ochre paint. At this stage, use very dilute paint and work gently - don't scrub
paint off in your zeal for perfection! Blend out at the edges just as you did when highlighting.
Get back from the icon to see how it "reads" graphically. The upper parts of sleeves, hands, and hand-held
symbolic objects may benefit from extra highlighting to make them stand out visually, or to clarify a gesture.
Resist the temptation to make major changes. Paint another icon instead!
Display the icon where you can see it easily. You may suddenly notice some detail you want to adjust, some
minor problem that can be readily fixed. Listen when your icon saint "talks" to you! When you and the saint are
reasonably satisfied, let the icon rest another week or so before applying olifa.
After the olifa is dry and no longer sticky to the touch, take your icon to church to be blessed. At my
church, an icon is blessed by placing it on the altar table during the celebration of the Eucharist. Other churches
and clergy may prefer other blessings, perhaps in the form of a simple prayer.
Your icon will not be perfect - because only God can make something perfect. Your icon is nevertheless
very attractive - perhaps the finest, most considered, and most meaningful art work you've ever completed.
Your art materials are highly archival, and with minimal care your work should endure for centuries. You have
joined the great tradition of iconographers, whose works continue to delight us and to help us relate to the
divine, bridging the years and the many cultural differences between their times and ours.
In my opinion, your first icon should remain with you as your prayer companion, your meditation object, an
adornment to your life and your home, a precious heirloom for your family.
As you complete more icons, they will find other homes with your church, your family members, and your friends.
An icon makes a particularly meaningful gift for a baptism, anniversary, or marriage.
The borders are completed, the lettering is in place, the ozhivki look beautiful, and all the finishing touches are done.
Now is the time to check it over. The bole on the edge of the board may have developed nicks or thin spots. The
red halo line generally needs a touch-up.
Check your shadows and highlights, especially on face and throat. Verify that shadows around and under
the eyes are symmetrical. Also check highlights on the lower face, so important to facial expression.
You may want to refine the face by adding dilute highlights. If you have over-highlighted, you can restore shadows
to their proper depth with dark ochre paint. At this stage, use very dilute paint and work gently - don't scrub
paint off in your zeal for perfection! Blend out at the edges just as you did when highlighting.
Get back from the icon to see how it "reads" graphically. The upper parts of sleeves, hands, and hand-held
symbolic objects may benefit from extra highlighting to make them stand out visually, or to clarify a gesture.
Resist the temptation to make major changes. Paint another icon instead!
Display the icon where you can see it easily. You may suddenly notice some detail you want to adjust, some
minor problem that can be readily fixed. Listen when your icon saint "talks" to you! When you and the saint are
reasonably satisfied, let the icon rest another week or so before applying olifa.
After the olifa is dry and no longer sticky to the touch, take your icon to church to be blessed. At my
church, an icon is blessed by placing it on the altar table during the celebration of the Eucharist. Other churches
and clergy may prefer other blessings, perhaps in the form of a simple prayer.
Your icon will not be perfect - because only God can make something perfect. Your icon is nevertheless
very attractive - perhaps the finest, most considered, and most meaningful art work you've ever completed.
Your art materials are highly archival, and with minimal care your work should endure for centuries. You have
joined the great tradition of iconographers, whose works continue to delight us and to help us relate to the
divine, bridging the years and the many cultural differences between their times and ours.
In my opinion, your first icon should remain with you as your prayer companion, your meditation object, an
adornment to your life and your home, a precious heirloom for your family.
As you complete more icons, they will find other homes with your church, your family members, and your friends.
An icon makes a particularly meaningful gift for a baptism, anniversary, or marriage.
BACKGROUND DETAILS
Small details like stars, twigs, leaves, and flying birds are most easily painted after the
background color is completed. A few colors are adequate. As with other details, use
your smallest brush, rather dry. Keep a damp Q-tip handy in case you make a mistake!
Flying birds are not difficult to paint, but practice on paper. First outline the streamlined
head and body, then add wings and tail, then some soft shading.
Small details like stars, twigs, leaves, and flying birds are most easily painted after the
background color is completed. A few colors are adequate. As with other details, use
your smallest brush, rather dry. Keep a damp Q-tip handy in case you make a mistake!
Flying birds are not difficult to paint, but practice on paper. First outline the streamlined
head and body, then add wings and tail, then some soft shading.
Above; Cathleen Fortune's icon of Archangel Michael has received some of its finishing touches including olive
green perimeter line, inscription, and translucent globe. The details of ornamentation on the angel's garment
are exquisite! The background is beautifully mottled in a variety of light pastel colors.
Cathleen is in process of restoring shadows to the face, throat, and hands, all of which were overly highlighted.
At left, the shadows are just beginning to re-appear. During the following session, the shadows are better
shaped and blended.
green perimeter line, inscription, and translucent globe. The details of ornamentation on the angel's garment
are exquisite! The background is beautifully mottled in a variety of light pastel colors.
Cathleen is in process of restoring shadows to the face, throat, and hands, all of which were overly highlighted.
At left, the shadows are just beginning to re-appear. During the following session, the shadows are better
shaped and blended.
