+++
I don’t mind telling you, I was nervous. My grandmother had tried to teach me to paint when I was about nine years old, but I had not picked up a paintbrush in more than fifty years. I wasn’t sure if I had made the right decision. In July 2024, I had the pleasure of participating in the first annual Summer Intensive Iconography Workshop, hosted by the Saint Photios Orthodox Theological Seminary.
This Workshop is designed for any students interested in iconography, both beginners and experienced painters. All of us who took part were provided with the materials and taught the techniques we needed to do the impossible: complete an Icon, from start to finish, over the course of five days. I needn’t have worried. I soon realized that I was in good hands. My instructors were kind and caring. Plus, as it turned out, I was in a group of students whose skills and experience were not much different than my own. In fact, only one person in the group had ever painted an Icon before.
The workshop was led by Schemanun Justina, from the Convent of Saint Elizabeth the Grand Duchess of Russia, an Instructor at the Seminary and the Director of the Iconography Certificate Program. She was joined by Archimandrite Patrick, Abbot of the Saint Gregory of Sinai Monastery, and Hieromonk Moses, also from the Saint Gregory of Sinai Monastery. Together, these knowledgeable and skilled teachers have many decades of experience creating beautiful Icons. We had a busy schedule during each day of the Workshop. Typia in the Seminary Chapel set the perfect tone for each day. Daily instruction in the Auditorium covered the theological significance, theory, and history of traditional Orthodox iconography. Mother Justina and Father Patrick, drawing from their wealth of practical experience in traditional iconography, provided brilliant insights. The remainder of each day focused on technique development, studio instruction, and execution. We ended our days with Small Compline in the Chapel.
Day 1: Tracing, Sketching, and Gold Leaf
On Monday morning, we selected the subject of our Icon from five prototypes. I selected an Icon of the Angel who appeared to the Holy Myrrhbearing Women at the Tomb of Christ.
We first created a sketch on paper by tracing a prototype. We then transferred our sketches on to the supplied clay board (about 8″ by 10″).
Next, we were taught how to cover the background of the Icon in gold leaf. This was a delicate process. (There are imperfections in the gilding of my Icon to this day.) And we painted a red border around the edge of the board.
Day 2: Curved Lines, Halo and Proplasmos
At Mother Justina’s suggestion, we practiced drawing curved lines with a paintbrush, focusing on the smooth brushstrokes needed for the features of the face and clothing. I practiced my line painting throughout the morning, hesitant to proceed.
On Tuesday, we added details such as the red line for the halo (using a compass), traced our sketches with thin lines, and applied the proplasmos, a dark greenish brown base layer for the face, used to represent the darkest skin tones. While I felt it looked messy, Father Patrick reassured me, saying, “The proplasmos on your Icon came out looking very nice.”
Day 3: Background Colors and More Lines
On Wednesday, I added the base colors for the hair, wings, and clothing of the Angel. The garments were painted with a light bluish gray base, and the wings and hair were painted dark brown. A blue ribbon in the hair matched the bottom of the wings.
After each new layer of paint, I traced over the original lines I had drawn.
As I looked around at my colleagues, I was impressed by the progress they were making. I, on the other hand, was working slowly, so I was somewhat behind the others.
While he was checking the work of the students at the end of the day, Father Patrick mentioned, “The proplasmos on your Icon looks very good.”
Day 4: Highlights and Shadows
On Thursday, we used layers of shadows and highlights to create depth and dimension in the garments, creating the folds and texture. For the face, we followed a similar layering technique, starting with the darkest shadows around the neck and under the eyes, then building up to the midtones and lightest highlights. I guess I really had been working slowly. Father Patrick confided in me that he was happy that I was able to add these new details. “I kept complimenting your proplasmos, because there wasn’t much else going on here for a few days,” he said.
Day 5: Finishing Touches
On Friday, I added many details, including more shadows and highlights to the wings, garments, and hair.
The eyes required special attention, with multiple layers of color and a tiny glint of white to give them a lifelike shine.
The finishing touches included refining the details of the face and adding the lettering on the corners of the Icon. We applied a quick coat of varnish to the Icon panel, and by the end of the day, my Icon was complete and ready.
This Workshop was a truly enriching experience, deepening my understanding of iconography. Having the opportunity to attend this session was a real blessing. Although I see every imperfection in my finished Icon, the attention to detail required in this course has given me a new appreciation for all the Icons I see at Church and at home. I will never look at Orthodox Icons the same way again.
Subdeacon Paul H. Daniels, Educational Administration
+++
Δεν υπάρχουν σχόλια:
Δημοσίευση σχολίου