Iconography by Petar Stefanovic


We begin with a wooden panel which is cut to the appropriate size. A fine cotton cloth or gauze is then glued onto the board using rabbit skin glue, and allowed to dry. A gesso preparation is then made heating water with rabbit skin glue and various fine white powders. Numerous coats are applied to the panel making sure each coat dries prior to the next one. When this is completed we sand the surface to achieve a smooth finish. We can now proceed with the next step which involves drawing the saint or church feast which is to be painted. A sketch is prepared and its outlines transferred onto the panel. The surface of the board can now be gilded. A few coats of shellac are applied, followed by gold glue, known as "mixion". After a specified waiting period, 23kt gold leaf is applied and allowed to dry. The next step is the actual painting. Egg tempera is used and consists of pigment colours mixed with a solution of egg yolk, vinegar and water. Colours are built up in layers using subtle shades in order to achieve the effect of 'otherworldliness' which is typical of orthodox icons. Egg tempera is a permanent technique, the colours becoming even deeper and more brilliant with the passing of time. Once the painting is completed the title and halo are added and the icon set aside for at least a few weeks for the colours to 'settle'. It can then be carefully varnished. This is the traditional method of painting icons and requires great precision and diligence, as well as the constant prayers and humility of the painter.