Icons

Preparation and Technique

In addition to mastering the necessary techniques, the iconographer must be a person of prayer who leads a holy life, as the icon itself is a work of prayer, fasting, and meditation. The iconographer understands that she is writing this icon with the help and guidance of the Holy Spirit, just as the same Spirit inspired the writers of sacred Scripture.

In this context the iconographer follows the prescribed steps in the process of writing an icon. Icons can be made of a variety of media, but the main medium is egg tempera on dry, well-aged wood. The surface of the wood panel is prepared with five to seven thin layers of gesso (a paste prepared by mixing whiting with size or glue and spread upon a surface to fit it for painting or gilding). After it dries, it is sanded and smoothed, then the icon’s outline is transferred onto it. 

Once the outline is complete, gold leaf is applied to those areas of the icon requiring it—halos and sometimes the entire background. Finally, the actual writing with egg tempera begins. The tempera is built up in layers, beginning with the dark base and moving to lighter colors. All the colors used in the icon are from natural substances, mostly minerals. After the tempera, the outlines are redrawn and highlights are added, with appropriate inscriptions to identify the figures. 

After the icon has dried thoroughly, it is covered with a varnish that protects its surface and gives it brightness, depth, and translucency. At last, the priest formally blesses it during the celebration of the Divine Liturgy.