Christ is Risen! Indeed He is Risen!

Orthodox icons are more than just religious art; they are windows into the divine, crafted with centuries-old techniques that infuse each piece with profound spiritual significance. The original techniques used in creating Byzantine icons have been preserved and passed down through centuries and include strict adherence to materials used, preparations, gold leafing and most importantly drawing and designing. 

1.Christ Pantokrator Study- Oil on Canvas 51cm x42cm

Orthodox Icon Conventions 

Byzantine icons follow strict iconographic conventions and templates, known as podlinniks, which dictate the composition, gestures, and attributes of the saints and religious figures. This ensured consistency and continuity in the portrayal of sacred themes.

Early Byzantine icons were depicted in a highly stylized and formal manner, with elongated proportions, almond-shaped eyes, and serene, otherworldly expressions. This style was intended to convey spiritual rather than physical reality. 

Even something seemingly objective like colour is chosen for its symbolic meanings. For example, blue often represented the divine or heavenly realm, red symbolized divine life or martyrdom, and gold signified the presence of God.

2. Most Holy Theotokos of Vladimir- Oil on Board 50cm x 67cm

Unveiling My Modern Techniques of Orthodox Iconography 

My intention working professionally as an iconographer for more than 25 years, has never been to differentiate my painting approach to what already existed, but instead to add upon it. And even than 'my style' was something that revealed itself to me. 

Egg tempera, a medium made by mixing finely ground pigments with egg yolk and water, is the traditional choice for painting Orthodox icons. This medium is prized for its durability and vibrant colours. Just like all iconographers I studied and employed this technique for many years. 

Being a classically trained academic artist however, I used alternative methodologies for my non Orthodox Icon work like commissioned portraits and alla prima landscapes, which at the heart employ the concept of the my “colour spot” method. 

By applying small, distinct patches of colour—what I call the "colour notes" or the mosaic painting method—I capture the shifting interplay of light and colour on the canvas. Furthermore, the notes are applied with a wax medium in an impasto style, giving the final works a visceral sculptor quality that I liked. I called it the “colour note” method, as each brush stroke of colour has to be the exact colour value within the whole composition and it can not be “off key”.

It wasn’t before long that I recognized the power and potential of this painting method, that I started writing my Orthodox Icons in this way. 

            3. Holy Theotokos Odigitria Oil n Canvas 74cm x 60cm

                                         4. Detail showing subtle colour value shifts within the face.

“Color Note” Icon Painting Methodology in Practice

Although I no longer use acrylic colour pigments with my portable icons (I still use them for all of my church iconography) but instead use oil paints with their long open rate, I still strictly adhere to sacred Orthodox Iconography traditions of design and drawing.

One of the key concepts in my colour note method is colour temperature. Understanding the temperature of colour—whether it's warm or cool—is essential for capturing the effects of light and atmosphere in my orthodox icons. 

Meticulously placed dots of pure colour next to each other, allows the viewer's eye to blend shapes optically. This technique required precision and patience, as I carefully consider the placement and density of each dot. The resulting Byzantine icons shimmer with light and vibrancy and engage the viewer on a deeply emotional and spiritual level.  From a distance the colour appears solid while unclose a journey of exploration and introspection ensues. 

    5. White Angel from Mileseva Oil on Canvas 70cm x 88cm   

     6. Detail showing my Color note technique.

I pray that my Orthodox Icons are more than just a visual stimuli, but emotional and psychological landscapes that at their core serve as a gateway to a deeper connection with the most holy.  

  7. Saint Sava Oil on Canvas 64cm x 44cm

 8. Detail of the saint showing the thick impasto colour notes.  

Holy Images: Preserving Sacred Traditions and Craft of Orthodox Icons

The techniques used in Orthodox iconography are a testament to the skill and devotion of the artists who create these sacred images. By adhering to traditional methods and symbolic conventions, iconographers like me ensure that each icon serves as a true window into the divine, inviting the faithful to deepen their spiritual journey.

For those interested in exploring or collecting my Orthodox icons, understanding these techniques can enhance appreciation for the artistry and faith embodied in each piece. The techniques and symbolism used in creating these icons were designed to inspire contemplation and devotion, drawing the viewer into a deeper understanding of the spiritual truths they represent.

Amin!

   9. St Nikolas The Wonder Worker Oil on Canvas 43cm x 32cm

 10. Detail of St Nikolas

If you’re interested in a different perspective with regards to painting supports, give mylar a try. Frosted and not the clear version, is an excellent support that is quite affordable with archival qualities. In fact, in some ways, it is vastly superior to some of the more traditional painting supports like canvas, wood panel or even linen. Mylar has a high tensile strength, chemical stability and does not buckle under moisture.

Mylar is a type of polyester and it has wide variety of art and craft uses. It’s extremely durable, impermeable, slick surface provides a support that closely matches painting on an oil primed surface. The brand that I use is Dura-Lar and it has a matte translucent surface on both sides. Besides oil and acrylics, you can paint using pencils, ink or even charcoal on it. 

How to paint on Mylar:

1. Tape the Mylar to a flat sturdy surface. Do not cut it to the exact size as you can make alterations to your finished piece, by extending the composition.
2. Apply a thin underpainting as support will show through the frosted Mylar. (Note: you may want to experiment with this unique support quality by not painting an under wash and instead have the support show through. Ex. Painting on an old wooden panel and having the wood fibers show through the painting.
3. Paint as you normally would, fat over lean.
4. Oil out if you have sunken sections of your work, once the painting is dry.
5. Varnish, remove the tape and frame.

For those of us who know what an arduous task it is preparing panels and priming them with oil, having Mylar as an alternative is a welcomed option. Because you know that is it readily available and inexpensive, you paint a lot looser and freer. Give Mylar a try and you’ll find it an invaluable alternative surface to paint on.

PS If you want to display these Mylar paintings unmated, you will have to glue them to a panel like a gatorboard or a dibond using archival glue.

Happy painting!

A reference for the practicing artist

In recent years there has been growing interest amongst professional artists alike to find an alternative to wood when preparing one’s own painting panels. Natural material like wood has a tendency to warp and or buckle even when properly sized, especially larger panels. In come Gator board; a unique and lightweight panel consisting of a rigid polystyrene core with an outer moisture resistant veneer panels. Gator boards are tested for their flatness prior to packaging. They are available in most art supply stores like dickblick.com, or currys.com if you’re in Canada.

What is a gator board?

The foam core and the man made wood sheets are permanently bonded together to make up the gator board panel; A great, economical alternative to traditional supports for all painters alike. Gator board can be purchased ranging in thickness from 3/16 of an inch all the way to 1.5 inches thick and come in various sizes. Furthermore, the panels can be bought with a white or a black foam core.

How to cut gator board?

To get a precise cut of a gator board use a circular saw or a band saw with a fine tooth blade. The board has a woodlice exterior, so using hand tools like a box cutter is satisfactory as well. Make sure to mark your line and use a metal ruler. Going over the same line a couple of times should do the trick.

How to prepare a gator board for painting?

Gator boards are strong and moisture resistant panels. Even when exposed to prolonged moist conditions Gatorfoam or the veneer showed no tendency to buckle. Care should be taken to not expose the gator boards to direct sunlight for too long, as it can cause bleaching or slight bowing. UV rays degrade unprotected foam, especially if it is a black color.

Gator board needs no special preparation prior to be painted on, but a light sanding is recommended using a 220 grit paper. Remove any dust and sand grit before continuing on to the next step. Due to the aforementioned UV concern, the gator board should be treated on all sides using a good quality water based size. Apply two or three coats of gesso directly on the board. Alternately if you are making your own painting panels (http://www.oilpaintersofamerica.com/resources/articles/MakingYourOwnLinenPanels.cfm), gator board make a great support.

What kind of paint can be used?

If primed correctly any enamel, water or oil based paints can be used. For watercolor Karen Sioson has a great post on stretching paper on gator board.(http://karensiosonwatercolors.blogspot.ca/2011/03/gator-boards-stretcher-boards-that-dont.html). If you paint in oil or any other solvent based paints, caution should be exercised not to make contact with the polystyrene foam as it may degrade it. After proper preparation, any of the common paint application like brushing, spraying or rolling can be used.

Gator boards are a great alternative for a good deal of painting and mounting options as it is both light weight and relatively strong. Check with your retailer if your painting is to be mounted in an archive setting as the gator board may not be acid free. Having said that, similar foam bards have been used in the framing industry for decades and have shown resilience and durability.

If you have any questions or concerns, send me a word and I’d be happy to answer them as always. Happy painting.