The most comprehensive book to date on the techniques of icon and wall painting. Over 450 color illustrations. 517pp Hardcover
This is the most comprehensive book to date on the techniques of icon and wall painting. Illustrated by over 450 color illustrations and over 160 drawings, it is a source of pleasure and inspiration for the general reader as well as for the practicing icon painter. More than just a technical manual, it sets artistic practice in the context of the Church's spirituality and liturgy, with chapters on the theology and history of the icon, and the reasons behind the placement of wall paintings within churches.
The last two decades have seen a bourgeoning interest in icons in the west, as much outside the Orthodox Church as inside it. Icons are being commissioned by Anglican and Roman Catholic cathedrals and churches, as well as by individuals of many demoniations. This very broad interest in icons and the attraction of the Orthodox spirituality behind the icon has greatly increased the number of people who want to learn about the art of iconography.
"I know of no comparable work in the English language that deals with the technique of icon painting in such a thorough and comprehensive manner. Yet, while concerned with technique, the treatment is never merely technical. At every point we see how technique reveals a transfigured world. Spirituality and technology are combined together, so that each illuminates the other." - From the Preface by Kallistos Ware, Metropolitan of Diokleia.
"The wealth of information in this book makes it an indispensable reference not only for iconographers but also for any painter using egg tempera, fresco or secco. It covers all the necessary processes, including the making and gessoing of wooden panels, gilding, preparing pigments, the various techniques for painting in tempera, as well as lime plastering and fresco, right through to photographing finished artwork." - From the Foreword by HRH The Prince of Wales.
"This book makes known to us a craft, but more importantly it is the Confession of a man who epitomizes the liturgical beauty of the Orthodox Church. He is full of joy and this same joy he communicates to us: with his heart he loves, and with his hands he fashions matter. He uses pencil, brush, chisel. He carves wood and stone, works with metal. He fashions form and color. He manifests the Spirit. And he confesses that 'The Word became flesh'. Thus you see not only how a holy icon is made within the Church, but also how the human person made as an icon of God struggles to become holy." - Archimandrite Vasileios, Iviron Monastery, Mount Athos, Greece. 450 illustrations. 517pp Hardcover (2011)
CONTENTS
Acknowledgements
Foreword, by HRH The Prince of Wales
Preface, by Metropolitan Kallistos (Ware)
Introduction
1. THE THEOLOGY OF THE ICON
2. A HISTORY OF ICON PAINTING
Sources of Diversity
Proto-Christian Iconography
Byzantine Iconography
Post-Byzantine Greek Iconography
Russian Iconography
Western European Schools
Georgian Iconography
Coptic Iconography
Armenian Art
The Timeless Principles Common to All Schools
Challenges Facing Iconography in the West
3. DESIGNING ICONS
Tradition and Originality
Research: Icons of Saints
Vestments and Tonsures
Research: Festal Icons
Elements of Traditional Icon Design
Conventions
Faces
Architectural Settings
Natural Settings
Color
Geometric Structure
Proportion
Iconographic Perspective
Space
Lettering
The Final Drawing
4. THE ICON SCREEN
A History of the Iconostasis
The Structure of the Screen
Theological Symbolism of the Iconostasis
5. PROPORTION AND GEOMETRY
Panel Proportions
Underlying Geometric Structures
The Symbolic Use of Shapes within Icons
The Golden Ratio
Proportions of Figures
6. MAKING THE WOODEN PANEL
The Timber
Properties Required of the Wood
Traditional Woods
Selecting the Timber
Preparing the Panel
Hollowing the Panel
Construction of Braces and Channels
7.GESSO
The Spiritual Meaning and Function of Gesso
Glues
Fillers
Characteristics of Good Gesso
How to Make Gesso
Equipment and Materials
A. Making the Size
B. Sizing the Panel
C. Application of the Cloth
D. Priming Gesso
E. Gesso
F. Sanding Down
Treating and Sealing the Wood
8. COLOR AND PIGMENTS
I. Color Theory
Color Symbolism - 1
The Science of Color
Color Symbolism - 2
Chromatic Properties of Pigments
Color Terminology, Theory and Harmony
II. Pigments and Their Technical Properties
Pigment Categories
Terminology of Pigment Characteristics
Pigments and Their Individual Characteristics
A. Traditional Pigments
B. Modern Synthetic Pigments
C. A Simple Contemporary Palette
III. Grinding Pigment
IV. Pigment Purification by Levigation
V. How to Prepare Commonly Used Pigments
9. GILDING TECHNIQUES
The Symbolism of Gold
Water Gilding
Oil Gilding
Gold Lines on Paint (assist)
10. THE BRUSH
Brushes
Brush Exercises
Modelling Techniques
Hints on Modelling Complex Forms
11. PAINTING IN EGG TEMPERA
Preparing the Paint
Two Techniques of Tempera Painting
The Membrane and the Proplasmos Techniques: A Brief Description
A Brief History of the Two Techniques
Comparative Features
Summary of Theophilus's Description of the Membrane Technique when Painting Flesh and Hair
Greek Terminology for Paint Layers
Slavonic Terminology
Principles of Color Transition in Modelling
Using Glazes and Scumbling to Adjust Color Characteristics
THE MEMBRANE TECHINQUE
A. The Drawing and Underpainting
Stage 1: Tracing or Drawing the Outline
Stage 2: Underpainting: Modelling the Form
B. Stages of Flesh and Hair Painting
Stage 3: First Membrane Layer: The Middle or Flesh Tone
Stage 4: Re-establish Shadows
Stage 5: Restore Lines
Stage 6: Apply Rose to Flesh Parts
Stage 7: First Highlights
Stage 8: Eyes
Stage 9: Begin Detail in Hair
Stage 10. Deepen Shadows
Stage 11. Add or Adjust Rose Tints
Stage 12. Second Highlights
Stage 13. Third Highlights
Stage 14. Final White Highlights
Stage 15. Add Deeper Shadow if Necessary
Stage 16. Add Near Blacks and Other Dark Lines
Stage 17. Fine Tuning
C. Garment Painting Using the Membrane Technique
Stage 1: Trace or Paint Freehand the Outlines and Chief Folds
Stage 2: The Underpainting
Stage 3: Apply Glaze of Middle Tone Membrane
Stage 4: Re-establish Shadows
Stage 5: Restore Lines
Stage 6, 7, and 8: First, Second and Third Highlights
Stage 9: Fine-tuning
THE PROPLASMOS TECHNIQUE
Flesh Painting
Landscape Painting
Buildings
Haloes and Lettering
Borders, Edges and Finishing Off
A Note on Painting on Vellum
Hanging the Icon
12. VARNISHING
1. Natural Varnishes
A. Soft Resin Varnishes
B. Oil Varnishes
C. Oil Lacquers (oleotesinous varnishe3s)
D. Albumebn or Egg-white Varnishes
E. Alcohol Varnishes
II. Synthetic Resin Varnishes
A. PVAc Varnishes
B. Acrylic Resin Varnishes
C. Ketone Resin Varnishes
D. Hydrocarbon Resin Varnishes (low molecular weight)
E. Aldehyde Resin Varnishes
F. Alkyd: A Note
Varnishing Procedures
13. THE THEOLOGY OF MURAL SCHEMA
Principles of Murals' Relationship to Church Architecture
Different Types of Church
Principles of Mural Design
The Function of Murals
The Symbolism of Church Design and Mural Schema
A. Iconographic Schema for Domed Cruciform Churches
B. Iconographic Schema for Basilican Church Types
Factors Behind Historical Variations in Mural Schema
Notes on Color Schemes and Lighting
Characteristics of Church Buildings Desirable for Murals
14. FRESCO
The Definition and Qualities of Fresco
I. The Components of Lime Plaster
Lime: The Chemistry of its Production and Setting
Which Lime Putty to Use
The Properties of Lime
Additives to the Lime
II. Preparation for Plastering
III. Application of Plaster Layers
A. The First Plaster Layer
B. The Second Plaster Layer
C. The Third Plaster Layer
Plastering Hints
Some Variants on Plaster Layers
Troubleshooting Plaster Layers
IV. Materials and Equipment for Painting
V. The Painting Procedure
The Design
Transferring the Design
Lighting
Workspace
Additives to the Paint
Hint for Painting in Fresco
Giornata
Secco Additions after Fresco
Troubleshooting Finished Painting
Burnishing Frescoes after Painting
1. Polishing Techniques in Pompeii and Herculaneum
2. 'Venetian Plastering'
3. Polishing in India
Portable Fresco Panels
Glossary of Wall Paining Terms
15. SECCO
Surface Preparation Cleaning
Traditional Paint Mediums for Secco
1. ' Fresco-secco' Paining
2. Casein
3. Egg Tempera
4. Vegetable Glues
5. Animal and Fish Glues
6. Honey and Tree Gum
7. Oil Paints
Modern Mediums for Secco
1. Acrylic Paint
2. Alkyds
3. Potassium Silicate Paints
Marouflage: Painting on Glued Canvas
Procedure with Marouflage
16. PHOTOGRAPHING ARTWORK
Appendix: Icon Courses and Supplies
Bibliography
Copyright Information
About the Author(s) Aidan Hart was born in England in 1957 and grew up in New Zealand. There he worked as a full-time sculptor after completing a degree in English literature and a Diploma in Secondary Education teaching. At the age of twenty-five, after becoming a member of the Orthodox Church and returning to live in England, he began painting and carving icons, which he has been doing professionally ever since.
His commissioned work has been primarily for panel icons, which are painted in the traditional way in egg tempera, but has also frescoed churches, illuminated on vellum and carved work in stone and wood for churches. He has over 700 commissioned works in private and church collections in over 15 countries of the world.
He has had numerous articles published on the subjects of iconography, ecology and Orthodox spirituality, has curated four icon exhibitions, and is the founder and tutor to the Diploma in Icon and Wall Painting run by The Prince's School of Traditional Arts, London. He has spent a total of two years on Mount Athos, mainly at the Holy Monastery of Iviron.
Aidan has recently completed a major work, Techniques of Icon and Wall Painting, published by Gracewing.
