Egg Tempera is a great medium, but it takes some getting used to. As far as iconography has gone, I have never used a ready-made paint. I have always used dry pigments mixed with egg binder, even in my not-so-great early pieces. I’ve since learned the quirks of it, but I still have a bit to go.
The binder is easy to make: egg yolk and white wine. The wine is optional, but it helps emulsify the egg a bit, as well as act as a preservative. Still, you only get a week, tops, with this stuff in the fridge after a day on your table.
My mixture this go around was 2 yolks and about “that much” of white wine. I’ve gotten to the point of knowing the color I want for the right mixture. You can separate the yolk from the white by transferring the goop back and forth between the broken eggshell halves. Then you pop the yolk with a folk, and let it slowly drain into the jar, catching the membrane in the process. If the membrane goes in, it’s not a huge deal, but you just need to make sure you don’t suck it up in the dropper later.
As you can see, it’s not a ton of liquid in a standard size mason jar, but a little goes a long way. You use drops, not tablespoons.
Once I get the magic liquid made, I go ahead and set up my table. I already had most of this out when the gilding started, but here you can see my collection of pigments, and that I taped wax paper down to protect my work surface. All of my pigments are from Earth Pigments or Natural Pigments, are are 100% natural earth or mineral colors. Mostly oxides, but also some crystals. The bagged jars are my quarantined toxic vermilion (mercury sulfide) and minium (red lead) pigments.
Egg tempera is backward from watercolor, you start dark and then add highlight layers. It seems weird, but it works. In iconography symbolism, you continue to “play God”, and build the paint up from the protoplasm, into a glowing, holy image.
Starting with the sankir, or base skin tone first. I mixed Antica Green Earth, and Roman Black. Think about the skin color of the Greeks and Middle Eastern people where this artform originated: olive based. Again, start dark, build up to light.
Egg tempera can be fickle depending on how fine some of the pigments are ground, the material they’re made from, and how much moisture they suck up. Antica green is fickle and kind of grainy, so I had to adjust as I went along with more pigment, egg, or water, depending on my needs.
I made a ton of sankir, so I painted all three icons with it. This isn’t always the best approach and it sort of busted my flow for the rest of the day, but they all have the same base mix, which is good. The rest of this icon-a-long will be for St. Martin.
I don’t have pictures of work on Martin, because, well, I was painting. It’s a time consuming process, and it takes hours. Total amount of work today alone was about 4 hours.
The perfect cloak red in icons comes from vermilion, real vermilion. I have a few different reds, but nothing paints like the real thing. So the real thing needs precautions. I keep it quarantined in its own baggy, with its own tools. Instead of using one of my palettes, or shells (I do have shells, the porcelain is just easier to clean) I use a plastic spoon that I can keep separate. While vermilion is considered inert once painted, the dry form is still toxic, it is still mercury, and needs to be controlled.
Of course, once I got started with it, a warm fuzzy thing decided to distract me.
I had to use a tiny bit of the minium as well. It’s one of my favorite colors. As shocking orange as you can get, and a fully period color.
After getting tired, taking a break halfway for dinner, and coming back to it, and still getting tired while finishing up the background, which is okay, because more coats will make it more opaque, but I’m bushed. I know it looks super weird, but over the next few days, the icon should “appear” as I add the highlights.
Anna's New Rome 