Icon-a-long with Anna 6: Completion

So, I don’t have a ton of pictures of this, mostly just the end result. The total was 3 floats of highlights, then the embellishments, inscription, shell gold, and border. Total amount of time on this one board: 15 hours. A “light” amount of work. @_@

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After the 3rd day of painting.
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Done!

Use of a pattern doesn’t necessarily mean a copy, so I decided to veer from the original and give a contrast border. The inscription is in Latin, rather than Greek, since the original had the same (from what I could make out).

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I did have some issues getting lines thin enough with my brushes. I think it’s a combination of my own pressure, them wearing out, and just not being thin enough for fine line work on smaller details. For icons where I just do the head or bust, they’re probably still fine, but I need to invest in tinnier liners! I also got a bit carried away with the shell gold on the Hand of God, but everybody loves gold!

I’m also utterly surprised at how good the horse came out.

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It’s now setting up to be oiled in a few weeks, and hopefully dry before Pennsic and delivery to its commissioner. I hope they love it!

 

Next up is the War Sew-a-thon, but I’m hoping to get some paint down on the icon of St. Nicholas next, which is doubling as a backlog scroll for my husband’s Order of the Silver Crescent.

Icon-a-long with Anna 5: Highlighting

There’s not going to be many pictures from here on out, because I need to concentrate. So I probably won’t make another post until I do the finishing touches in a couple of days.

Anyways, the next step is layers of highlights and lowlights. This could be as few as two, or many, many more. So far, I’m thinking this is going to be a 3-highlight layer icon, but I could be surprised. Some areas, like the landscape, won’t need a ton of work, but the horse and skintone will take much more work. The detail lines are saved for the last day, along with the inscription and the outer border.

The trick with the egg tempera is to create different viscosities of the color to get the achieved effect. So you mix your color, then add water until you get what you need. This doesn’t always work smoothly and can take some time. Likewise, I had to go back and darken some of the more solid areas where the paint dried patchy. I lightened the background to create more contrast from the dark yellow ocher, and put back in the linework. Skin color takes on a chalky look, which is why the beggar looks a bit…weird, if not skeletal, this will soften up with the next layer.

This is when egg tempera gets fussy.  While it dries fast, it takes overnight to cure. If you go back over a spot that’s wet, or didn’t cure, fresh paint can take it right up and leave you a hole straight to the gesso. You can see that on the horse’s haunch in the picture below. The best thing to do when this happens is LEAVE IT ALONE. Let it cure overnight, and then revisit it the next day. You really only get 2-4 hours to work on it anyway before this starts happening pretty much everywhere if you keep touching things, hence why the daily limit is so important. This is when patience is key, but it’s also a lot of fun as each day you get closer to a finished piece. I worked on the board for about 3 hours.

I’ll see everyone in a couple of days when I’m ready to finish it, and set up for the long cure before oiling.

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Icon-a-long with Anna 4: Egg Tempera and Painting

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.

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First, gather your supplies! The wine name made you giggle.

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.

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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.

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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.

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Dry Antica Green Earth.

 

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.

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You work the paint in tiny brush strokes from a small drop on the board, rather than long strokes.

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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.

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Of course, once I got started with it, a warm fuzzy thing decided to distract me.

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That’s Harald Hardrada, Varangian kitty, King of Norway, Maine Coon superfoof.
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That red, though.

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.

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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.

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Icon-a-long with Anna 1: Boards

I have a few commissions coming up, and I decided I wanted to blog(ish) the process rather than keep it under wraps, since they aren’t gifts. I had to decided if I was going to do it on Facebook between my personal account, or my SCA persona page (which I rarely post on), and decided that I should just put it here, so it’s more accessible for those that don’t spend their day on social media as much as I do. It will also help me be more accountable in making regular updates.

So, to begin, let’s talk about the actual surface on which to be painted.

Icon boards, in their most simplest, are layers of gesso (calcium carbonate and hide glue) on a sanded and prepped wooden surface. Well-made boards have a layer of linen glued to the surface of the board before application of the gesso. In early period, this was mostly basswood. In early-modern and modern icons, it’s typically poplar. Both woods are still available today, of course. Basswood is not that durable, it’s a soft wood used for wooden models. I do have a panel of it somewhere I plan to paint someday, but until then, I spend money and have other people do this for me.

I have made my own panels. They are not good, but I did it. Using pre-sanded and drilled birch panels from an art store, I had a heck of a time applying gesso and sanding. This is not the job for me. And that’s okay, because the creation of icon boards is an artform in its own right, and was probably done by a different person in period than the actual painter. The Norman has more experience with woodworking and patience than I do, so my own boards are on the horizon, just not imminently so.

I purchase my high-end boards commercially. And by “commercially”, I mean, from Pandora Icon Supplies, which is a subsidiary of the Prosopon School based here in the states. They are not “manufactured”, because, much like high end papers for the C&I community, it requires a level of craftsmanship, and the price reflects this, so I’d call them more of a purveyor of fine art supplies.  I just recently made an order after scrimping and saving for 2 years just to buy new materials, but they’re worth every penny. Sometimes there’s a turnaround time, sometimes they ship right away. These are handcrafted, so you have to anticipate some leeway.  Pandora offers a lower-cost alternative in the form of the birch gessoed panel, which is still professional grade, but does not have the same thickness or carved surface of the fine icon board. Their larger fine board will have the slats in the back to help control the inevitable warping over time. Smaller boards, like the one I have below, do not. I can’t currently justify the cost of a larger, high-end board until I use up my supply on hand. I already want to start hoarding these like fabric.

Basswood, poplar, and birch are all Old World AND New World woods. In Europe, “linden” is the name of basswood, and “aspen” is used for some poplar variants. Black poplar is probably the one that was used most for boards in period, and that also grows here in North America. The taxonomic differences are probably minimal, which means that if someone were to go to a hardwood supplier here in the states, they would get wood suitable for making panels, without having to spend an exorbitant amount of money importing something we don’t have.

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My current collection. The top row I have 2 11″x14″ Pandora “BGP” (Birch Gessoed Panels), which is a more affordable way to invest in a well-made board without breaking the bank, next to my own smaller panel that is currently getting worked on with St. Nicholas. At the bottom, you have a larger 10×15″ BGP still wrapped in paper, and a fine, 8″x10″ poplar panel with a kovcheg (recess). The BGPs pictured here were $60 a piece, and the fine board was $80. My 8″x10″ panel was like $20 of supplies a lot of swearing.

 

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The backs of the board so you can see the exposed grain of the wood. The birch is nice, but the poplar is mesmerizing.

My upcoming projects are a commission of St. Martin of Tours, and St. Michael the Archangel for myself, because I need to start keeping some art. St. Nicholas of Myra as the patron saint of sailors is for my husband.

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Coming next: Patterning the icon, and preparing the surface for gilding.

Surprise! Icon!

I took a break from iconography for a while because I felt like my art wasn’t up to snuff, and I was thinking of giving up. By the way: never give up. I had the pleasure of working at the Museum of Russian Icons over the fall semester of 2015, and I learned a lot while I was there, including getting the change to work with the entire inventory, and examine, and touch, period icons. While I was there, I went ahead and purchased some better accurate pigments and more gold, and decided it was time to get back into the swing of things. Initially, I was going to try my hand at turning an icon into my husband’s backlog scroll for the Order of the Silver Crescent, but then I got an offer I couldn’t refuse: Konstantia, my blue twin out in Calontir, was to receive her Herald Extraordinary, and the now-Gold Falcon Herald, Uji, invited me in on the shenanigans.

Initially, I was asked to just do the words. Here is what I came up with instead. Oops?

First, I purchased real icon boards from Pandora Iconography Supplies. It doesn’t have a kovcheg (recess), but that’s because those are expensive. Each 11×14″ board is $55 a piece as is, and custom made upon ordering.  I tried my hand at gessoing my own panels, and uh, yeah, nothing beats the real thing by the professionals, even at the price.

So I laid it out, as you do. The pattern is from an actual 13th Century icon of St. Gabriel the Archangel (Herald of God, and the end of the world, and stuff.) and is still popular today.

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Then I prepared the halo for gilding with real red clay bole, which I also purchased from Pandora. As you can see this go around, I also bole’d the edges. This is something I learned at the museum. It symbolizes the artist being mortal, and rough around the edges, therefore, it doesn’t get sanded and burnished like the halo does.

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Note the thickness of the application here. This is vital to a good leaf adherence. You literally just puddle the liquid bole on, try not to get air bubbles, and let it dry.

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After the nice thick layer of bole dried overnight, I burnished it with agate to bring out that blingy shine.

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After the gold leaf (23kt double gold in this case) was down, the sankir and roskrish are applied, including real vermilion for the cloak. That’s mercury sulfide. You know, death in paint form. (To quote my  grad school classmate and fellow SCAdian Wilhelm: “Only in the Middle Ages could something so mundanely boring potentially kill you.”) The stuff was like painting on a cloud though, but at $18 for a smidgin, I don’t see myself using it all the time. This was a special occasion that warranted potentially poisoning myself.

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I tested the shell gold on the vermilion once it was dry to see how it would turn out, and decided yes.
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And the highlighting process begins, with poor Gabriel looking as if he literally can’t even.

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Some hot dry pigment action:

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More highlighting:

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And then ALL THE SHELL GOLD. OMG, SO MUCH GOLD.

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*BLING!*

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Roll that beautiful inscription footage, ah yiss…

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And then, the actual “scroll” wording needed to go down. I based this on some period examples of text included in the borders of icons. I need to work on my lettering, but I think I did a fair job, considering this is my first icon “scroll” ever. I kept with the plain yellow ochre border, as it was an extremely common choice in period. It’s also affordable and predictable.

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And DING! SCROLL IS DONE! Words are based on the Akathistos Hymn to Mary.

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Gabriel can’t even. Literally.

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Obviously, I had to send it from the East to Calontir, and I managed to sneak it in the mail the day I left for Spring Break. Now that it’s signed, she needs to send it back so I can apply the oil varnish and make sure that it’s protected properly.

Oh, the kicker? I did her garb for her Stepping-Down from Gold Falcon, and surprise Herald Extraordinary bestowal as well. 😉 Which at least, she commissioned and knew was coming.

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I am so dead the next time I see her. *shifty eyes*

Icon do it! St. Lucia of Syracuse icon completed!

So last spring after another botched attempt at iconography, I was prepared to give up the art form entirely. I’m not a painter, and the stuff I draw primarily is Japanese anime, which is, uh, so not period or even appropriate for icons at all.

This fall, I was asked to offer my skills as an artisan to the East Kingdom gift baskets to be given out at Pennsic. I accepted, but I wasn’t sure what to do. I decided, reluctantly, to pick up the brush again, but first I needed to practice.

I invested in new supplies: new pigment colors, new brushes, real gesso, and bole and olifa from an icon supply place on the internet.  I also went and got some real gold leaf, despite still having way too much composite from my previous projects I should use up first. I have silver and copper composite leaves that I picked up cheap from an art supply store locally, so I wondered if they would be of any use on practice pieces before I potentially wasted the good stuff.

Most icons are done in gold, but there are a few in silver encasement. After I did some digging, I did find this 11th Century icon with embossed silver leaf, so I figured that was at least some evidence that silver was being used in period on icons.  I used this as an excuse to blow through 4 sheets of composite silver on this piece.

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Embossed silver icon from the 11th Century.

I chose St. Lucia since she was from the same town as my persona. Local saints were prized in the Middle Ages, and that’s a good enough reason to assume that I would have strongly venerated her. She is also a patron of seamstresses, so a little saintly intervention in the sewing room can’t hurt. 😉 There’s plenty of modern icons patterns to choose from on the internet, so I picked the one I wanted, grabbed one of my remaining Gessobords (This one is 9″x12″), played with carbon paper, and followed the same steps as I did previously, only on the pretense of leafing all the things. The leafing took about 3 hours. Even with the larger sheets of fake stuff.

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I soon learned that embossing composite leaf was not going to work. I did more damage than anything, so I repaired the leaf where I borked it up, and decided to leave it flat. There’s plenty of flat gold icons. I may not be able to find a flat silver one, but we’ll call this a creative anachronism. (I mean, composite after all.)

So the painting started, with the layers being applied over several days. Mostly snow days, thanks to the lovely winter we’re having in New England. (Lovely as in @@#!#$$!!!!)

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I started to get nervous as I began to work toward the upper most highlight layers, this is where I had screwed up before. So, taking deep breaths, and using my new, thin brushes, I worked carefully, putting in no more than 2 hours a day over the course of about 7 days total. The finished results shocked me, they shocked my husband, they shocked my friends. I couldn’t believe I pulled off an icon that well, looked like an icon.

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I did it! I really actually DID IT. The best part is that she’s for meeeeee! I get to keep her and admire her next to poor Archangel Michael and show her off in displays without feeling mortified at my attempt.

The only real thing I don’t think I will ever do again is leaf or gild an entire panel. It was a pain it the butt to paint over where it accidentally got on the drawing. In fact, her halo and inscription are actually in acrylic. I had to cheat in order to get anything on the leaf. I’m sure that the real gold won’t act like the fake stuff, but I’m not about to try it right now and find out. Let’s get better at what I’m doing before I start ruining sheets of 22k gold.

In the mean time, Lucia is aging over the next week or so before I seal the leaf and oil the painting with olifa. And I plan to bring her and some other goods with me up to Montreal for King and Queen’s Arts and Sciences next month.

I also re-did my Iconography page with a more complete gallery and link to my tagged archive. Do go check it out.