The Technique of Icon Painting Choosing a good quality wood is very important. Bass, poplar or birch are good choices.
At first we begin by sanding the wood with fine sandpaper in order to attain a smooth finish. Then we coat it with a linen fabric dipped in lukewarm rabbit skin glue. This prevents the painted surface from cracking in the event that the wood as it gets old cracks. When the glue dries, we cut off the excess fabric hanging over the board.
Next we mix chalk with rabbit glue and apply several layers making sure that each dries before the subsequent coat is applied. After all the layers have dried (at least five layers, depending on the thickness of the gesso) we sand the ground with fine sandpaper to obtain a very smooth surface. The board is now prepared and ready to be painted on.
The next step is to transfer a sketch of the Saint or scene we are going to paint. First we draw the sketch adjusting it proportionately to the space we have been given. The composition is one of the basic elements that contribute to the final aesthetic of the icon.
Using the technique of oil gilding, several coats of shellac are applied to isolate and smooth the surface. Then we apply a glue, called "mixion" which is specifically used for oil gilding. After 3 or 12 hours we can apply the gold leaf. Gold gilding is a very delicate procedure and requires great experience.
Egg tempera is the basic medium in icon painting. By using egg yolk and adding natural pigments we paint in successive layers of color, creating subtle gradations from dark to light.
Acrylics or industrial colors should not be used because they not only fail to reflect the color tones but they also fade after a while. The natural pigments used by the first iconographers have retained their original color, allowing us to admire their work throughout the years.
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