Icon Diploma Student

Learning to see with the eye of the heart

Posts from the ‘Painting icons’ category

At the Heart – A Child

When painting a large icon, it helps to try and progress things evenly across the panel. I’d like to show you how I approached this in this post but also want to focus on the steps taken as I painted the Christ Child at the heart of this icon. I also have some exciting news… more about that at the end of this post.

An icon with so many figures and halos can be quite tricky to paint so it’s worth pausing to think about the sequence of work. Top of the list is to remove the protective pads as soon as I can; they can leave a sticky residue if left on too long.

Small pieces of card taped to the gesso as protection pads.

Before I scribe defining lines around the halos, a certain amount of painting needs to be done around them first. The halo lines are adjacent to the hair of neighbouring angels and central the blue ring also touches the halos of the Seraphim. These need to be painted and allowed time to thoroughly dry out. I’ve found that when scribing lines on paint that hasn’t dried or ‘tempered’ for a day or so tends to spread.

Small triangles of hair meet edges of halos – better painted before the halo lines are scribed

At the centre of this icon is the young Christ with one hand raised in blessing and the other holding a scroll. The young boy is wearing a rich vermillion cloak and sash, radiating a gold (yellow ochre maimeri) light contained in an outer circle of seraphim. I decided not to paint all the garments surrounding the ring as I thought I would be able to work fairly neatly up to these edges.

I referred back to my initial drawing to trace and transcribe the face.

I have learnt to be very careful with strong lines when underpainting a face – they can be hard to integrate later. Better to have just a few key lines in the right places as reference points to move from then shade in thin layers, building up depth gradually around the cheeks, below chin and brow, to the side of nose and under the hairline.

Below you can see I’m building up all the faces at the same time, gradually deeping the shading. I’ve used yellow ochre maimeri and a tiny dash of ivory black to give a greenish yellow underpainting. You can also use Terre Verte for underpainting faces but this pigment can be quite sticky for painting small fine facial details.

It’s worth going quite dark with the shading – it will all get held together by the membrane layers. Don’t forget to add a few glazes of your egg mix – diluted with a few drops of water and let it dry before you add the membrane. These are tiny details but they help bring it all together. The egg seals the gesso below to provide an even surface for the next layers.

I’ve used English Red Ochre light and Yello Maimeri for the membrane layers. Add just enough membranes to make out the features. At this stage I leave things for at least a week and work on other areas. This is only something I’ve learnt. The more this layer is left to temper, the easier it is for you to correct mistakes without making a hole back to the gesso. You can read about that one here!

Darkening shadows and defining the features with ochre avana.

Building up highlights with very thin layers of yellow maimeri mixed with titanium white.

All these stages are comprehensively covered in Aidan Hart’s book ‘Techniques of Icon and Wall Painting’

If at any time the highlights look too stark, add a few thin layers of French Ochre Havanna to even things out.

Finally, add whites of eyes, black pupils and eyelids, the lettering, ribbons, shell gold and fine jewel details on the garments.

Now for that exciting news… This year I’m celebrating ten years of icon painting and sharing my work here on this blog. As a big thank you for your company and comments over the years I am offering ALL my icons (including this one) in stock listed here at half price for the month of February. This offer will not be found on any social media page as it is excusive to all my readers, past icon buyers, friends and family. Postage will be added at cost and the icons will be sold on a first come first served basis – please get in touch if you would like one.

As always, thank you for reading and happy icon painting!

Ronnie 🙂

Cherubim: Golden Face Vermilion Wings

With the swirling clouds in place, I moved on to the central part of the icon of the Council of Archangel Michael and the red winged Cherub below. I’m going to zoom close up on what is quite a small face – about 2cm diameter.

For clarity, I’ve mentioned previously that on historic examples of this icon, there has been some fluidity in the colours, positions and naming of cherub(im)/seraphim/standing angels. If you google ‘The Synaxis of Archangel Michael‘ you will see some of these but for now, I’ll refer to the multi-winged angel here as Cherub.

Each phase of icon painting is a fresh start. I find it helpful to start with something simple and here I picked up by underpainting the hair of the standing angels in English Red Ochre pigment. I also used it for the Cherub’s hair even though this figure will be mostly painted in Vermilion.

I painted the wings in thin layers of Vermilion and Italian Gold ochre. This reflects the sphere of red-gold surrounding the Christ child. There are many yellow ochres – any of the brighter ones will work.

The clump of masking tape left sitting in the blank face is now going to be useful – for a reminder I wrote about this here. The layers of tape protect the gesso from the compass tip puncturing it and the tiny centre point is still there to locate the compass again. For the line around the gold halo, I mixed Titanium White egg tempera to a consistency of single cream – it’s worth testing the paint flow before you start.

Time to draw the white line around the halo

When the paint on the upper wings has fully dried out – at least overnight, set up a compass with a dip nip. Scribing lines around halos takes practice – do a few trial runs before you go for it! If the paint hasn’t fully dried, the white line will spread or bleed. If this happens, just remove the paint with a brush and do something else and revisit it a good bit later!

When the line is in place, you can remove the masking tape and go back to the drawing and transcribe the face ready for the underpainting.

Here’s my drawing of the Cherub.

Working with English Red Light pigment I under-painted the Cherub’s face. I’ve learnt over the years that although egg tempera dries fast, it isn’t that stable to work over for at least for 24 hours. It’s all too easy to apply a membrane/glaze over a finely painted face but then if I apply a little bit too much brushwork, the under-layer can move!

It helps to paint several other things at the same time – in this instance I had plenty of other angel faces to underpaint.

Underpainting of the face in English Red Light ochre

The rest of the faces are under-painted in a mix of Yellow Maimeri and a tiny dot of Ivory Black to make a soft green.

Here’s a little bit of work-in-progress with the rest of the icon.

I’ve used English red deep for the darkest parts of underpainting the Cherub’s face and hair. Every now and again, apply a thin glaze of clear egg mix.

Build up a strong face with deep shadows and bright light areas – then you are ready to apply the membrane layers.

Add a few clear egg glazes to bind the underpainting.

I used Italian yellow gold pigment in several thin glazes over both the face and hair.

Gradually add thin layers of highlights in white to the brow, eyelids, cheekbones, nose tips, lower lip and neck.

Finally, there are the highlights to the wings, the sides of the eyes, headband and a little light gold to highlight the curls.

I hope this has been a help or given you a nudge to pick up your brush.

Next up will be the standing angel faces

Thank you for reading

Ronnie 🙂

Archangel Gabriel – held in a palm-sized icon

Archangel Gabriel, Icon size 14.5 x 11.5cm x 2.5 cm thick birch ply

Hand-sized icons are tactile and so beautiful. A few years ago, I had some thick birch ply cut into a selection of small sizes which I gessoed all at the same time. In many ways, they are just as much work as larger sized icons (and can be harder on your eyesight!) but they become such a relatable size.

Some photos below show a few steps of the process of painting a small icon – this one is of Archangel Gabriel. As we approach Christmas, I just wanted to close 2022 with a practical post, perhaps to inspire you for the New Year year ahead!

Below are a series of photos of the process of painting this hand-sized icon. Hope they help you in your own work!

Cut pieces of Birch Ply with scrim applied ready to gesso.
Boards have been gessoed and now held in a Black and Decker work mate ready for me to sand off the rough edges
Edges all sanded. I also give a light sand to the gesso to remove the rough surface ready for hand sanding.
Bole warming in a bain marie ready for gilding
First layer of gold leaf applied to halo – note the masking tape over a small piece of card to keep the centre point of halo. Also I have applied masking fluid to save scraping off the gold from the gesso.
Burnishing the halo after gilding
Painting the background and letting it harden/temper overnight before adding the white line of halo (otherwise the paint spreads)
Using the dip pen compass to apply the white halo line. Once in place, remove the masking tape/card from centre point.
Applying a few coats of dilute egg glaze to seal the gesso ready for painting.
I wrap the icon in tracing paper to protect it as I work
Underpainting the face using a mix of Yellow Maimeri and a little Ivory Black
Applying several thin layers of membrane in a mix of yellow ochre and a dash of red ochre glazes
Working into the darker areas of the face with Avana Ochre
Gradually add thin layers of face highlights in Yellow Maimeri and white – if it all gets too stark, add a wash of warm Italian gold
Studio audience!
The next part is to complete the garment, hair and wings and then to add the lettering. Then finish the sides, add hooks and cord.

The finished icon can be seen here whilst available.

Wishing you and your families/friends the peace, light and love of Christmas!

Thank you as always for reading

Ronnie 🙂

Advent Two: The Shepherds Their Wonder

Quote from the Festal Manaion – Nativity Vespers

The profoundly beautiful Armenian Nativity created by T’oros Roslin in the 13th Century remains my favourite Nativity icon. I painted my own version on vellum back in January 2016 in preparation for the Festal Nativity icon (on a large gessoed panel) which was part of the final year of the Diploma.

This is a silly busy time of year for many of us but I’m posting this here now for you to find sometime in future when you do find a quiet moment.

The primary shepherd on the large Nativity icon (above left) was a direct reference to the figure in the Armenian Nativity scene. I liked his expression and woolly tunic! (If you want to refer to the finished diploma icon you can see it in more detail here).

Caput Mortuum is a mysterious rich deep maroon colour and looks to me the colour used in the Armenian Nativity original. The name translation from Latin is ‘dead head’. In the Merriam Webster Definitions dictionary we find one definition “alchemy the residuum after distillation or sublimation” also “a red iron-oxide pigment made by calcining iron sulfate“. To me it’s the colour of an aubergine and when placed next to lapis lazuli, the colours sing.

Caput Mortuum next to Lapis Lazuli

Reflecting back to the time that I painted the Armenian Nativity, you’ll have no idea how over the moon I was to participate in the exhibition curated by Patricia Lovett and held in the window of Cornelissen’s . It was all part of the Heritage Craft Week 2016 which I wrote about here. If you’ve never heard of Cornelissen’s then treat yourself to a minute inside their London shop here.

Patricia – if you are reading this, that exhibition and subsequent synchronicities led to the class of 2013-16 final-year diploma icons being displayed in the same window (below) and repeated three years later with the next icon student intake – THANK YOU!

Window shopping – Cornelissen’s, London

Back to work…

These shepherds have been shuffled around to get a balanced composition. Photocopying and cutting out the figures allows you to move them and see how they work in relationship to one another. It’s interesting how small shifts can make a difference in how your eye is led around the figures and around the overall composition.

Pencil drawing of three shepherds, photocopied and placed on the icon panel

Lines are transcribed onto the panel by rubbing red ochre onto the back of your traced drawing. The lines are fixed with a dilute mix of egg tempera in red ochre. Applying a dilute mix means it’s easy to blend into the layers that follow.

Composition settled and anchored on to the icon panel in a light red ochre line.

Yellow Ochre Maimeri and Ivory Black pigments mixed together give a lovely green for underpainting flesh tones – an alternative to Terre Verte which can be a bit sticky.

Since I had this earthy mix, I used it to under-paint the garments of the primary shepherd. I’ve used thin washes of earth ochre pigments to build up the landscape.

Colours vary here as I’ve taken photos at different times of the day.

When working on an icon, it’s important to work on it as a whole to keep it balanced. Sometimes weeks if not months go by between underpainting, mid-tones and highlights of the different clusters of figures.

Let’s close this post on these shepherds – almost finished. Just a few more highlights to add on their faces and hair.

Thanks for reading, whenever that might be 🙂

Ronnie

For the Feast of St Francis

Today, 4th October is the Feast of St Francis. I’d like to share some of my work from my student days on Aidan Hart’s diploma course when we were encouraged to paint monochrome studies on watercolour paper. I found these studies a little less intimidating as they were ‘only on paper’ rather than the gessoed boards which we had all spent several days preparing.

I knew I was going to paint an icon of St Francis on a gessoed board so wanted to prepare a study on paper first.

However, instead of painting a monochrome, I decided to see how painting an egg tempera icon on paper would turn out. The drawing above is taken from one of Aidan Hart’s icons of St Francis. This is the traced outline over the pencil sketch which I made from his prototype which you can see here.

I can’t find any record photos of the underpainting on paper but it would have been with thin layers of Terre Verte pigment and a few washes of the Yellow Ochre Maimeri mixed with a tiny dash of English Red Ochre, applied in thin washes.

The process on paper is the same as on a gessoed board – I followed exactly the same steps.

Returning to the icon on paper, you can see both the underpainting of face and garments have had ‘membranes’ of colour and I’ve begun to add some facial shading and highlights.

I like faces to have soft highlights – I have often added the brightest areas only to wash them back with French Ochre Havanna so they blend in. There is a lot of flexibility in egg tempera – it is surprising how thin washes of one pigment over another can help things sit better together.

Finally we arrive at the lettering and gilding the halo.

Working on paper, I applied a dilute coat of upva glue (flexible when dry) over the surface to be gilded – this acts as a seal over the paper. About 20-30 minutes later I applied a second less dilute coat and as soon as it was just about dry I applied 23.5 carat transfer gold leaf.

I referred back to the drawing for the centre point of the halo, placed a strip of cardboard over the face for protection from the compass point, held it all very steady and drew a circle around the halo. I pencilled out the lettering and then traced and painted them on.

Finally, the work was framed and included in the final student exhibition at the PSTA in Shoreditch. It is now available to purchase from my Etsy shop here.

It’s almost the end of the day here but just in time to wish you peace and blessings on the feast of this gentle yet powerful saint.

Thanks for reading,
Ronnie

Cornelia and Hironmoy remembered

paionting of lord krishna on watercolour paper

Lord Krishna

My great aunt, Cornelia Maria Georgina Sharp, was born on 8th December 1891, the second child in a family of six. It was years later that we discovered a little more of this courageous woman’s life when Dad’s cousin researched into what had happened to his absent father.

I am touching on her story here as I was delighted to be commissioned to paint an icon of Lord Krishna, the god of compassion, tenderness and love in Hinduism and happy that we have a family connection to this rich faith.

lord krishna outline drawing

Transcribing the lines of outline drawing onto paper

In brief, Cornelia, a young English Catholic woman working in service, married a young Indian Hindu man named Hironmoy Roy-Chowdury in the Church of the Holy Rood, Watford. All the more extraordinary was that her new husband was the nephew of poet and winner of the Nobel Prize for literature  Rabindranath Tagore 

Hironmoy was a sculptor studying at the Royal College of Art. Their only child, Francis Roy Chowdury (Dad’s cousin), was born in October 1914 two months after the outbreak of the first world war. The marriage wasn’t to last long as Hironmoy went to France to volunteer in an abulance unit and then his family heard of the marriage and insisted he return to India.

2 line on paper

First lines on paper

Back to the icon of Lord Krishna where I’ve depicted him as a young man playing the flute, standing on a lotus flower. He is painted on 600gsm hot pressed paper mounted on a 25mm ply board rather than on gesso thereby avoiding the use of rabbit skin size.

gold leaf on lord krishna drawing

Applying 24 carat transfer gold leaf over acrylic size coloured with a little red ochre

lord krishna on heavenly gold background

Lord Krishna standing against the gold of heaven

5 underpainting

Underpainting the figure and garments

egg tempera

Applying the paint in thin layers

lapis lazuli

Flesh tones painted in Lapis Lazuli

The colours on images of Lord Krishna are vibrant but to avoid them clashing, I limited the palette to English red ochre, yellow ochre maimeri, lapis lazuli, black and white. The greens were mixed from malachite.

I chose to use Lapis Lazuli as its deep, celestial blue remains the symbol of royalty and honor, gods and power, spirit and vision, wisdom and truth. Its name comes from the Latin lapis, “stone,” and the Persian lazhuward, “blue.”

qualities of Lord krishna

Some of the many qualities with which Lord Krishna is associated

Lord Krishna painted using the icon method

Lord Krishna ready for his new home

There must be enough for a book on the subject of Cornelia and Hironmoy’s brief lives together and it is a treasure that we know of this through their son’s research.

I will close with a quote from ‘Fruit Gathering’ by Rabindranath Tagore;

        ‘Send me the love which is cool and pure like your rain that blesses the thirsty earth       and fills the homely earthen jars.

         Send me the love that would soak down into the centre of being, and from there would spread like the unseen sap through the branching tree of life, giving birth to fruits and flowers.’

Thanks for reading,

Ronnie

For the love of colour

So how did the work of twelve icon diploma graduates end up in the window of L. Cornelissen this month?

man looking in window of Cornelissens

Pausing to read about the icons on display (photo courtesy John Cruwys)

It’s hard to pinpoint where this great moment began but my long held love of calligraphy  and illuminated manuscripts led me to learn how to gild with Patricia Lovett. We’ve kept in touch over the past 12 years and through mutual friends on social media, I have also to come to know and admire the work of another artist and calligrapher Lin Kerr. Both Patricia and Lin are natural teachers, love colour and their enthusiasm for their art is infectious.

One of the common threads linking us has been Cornelissen’s, home to pigments, gold, gesso and some of the most obscure ingredients for icon painters and artists alike.

Lin had spotted one of my Instagram posts ‘Eccleshall Gold’ on vellum and tipped me off that Patricia was setting up an exhibition ‘Gold on Parchment‘ on behalf of the Heritage Crafts Association, for London Craft Week 2016 at Cornelissen’s. This was to promote work on vellum/parchment following the results of the campaign to keep the acts of parliament recorded on vellum.

Eccleshall High street on vellum unframed

Eccleshall Gold

Patricia kindly agreed to include both this and ‘Armenian Nativity‘, a piece that I was working on for the icon diploma.  The range of work on display demonstrated many of the gilders’ tools and pigments sold inside Cornelissen’s and naturally drew people into the shop. This little icon on vellum seemed to attract quite a bit of interest – possibly the vibrant contrast of the vermillion agains the deep blues? Who knows, but this was the link that led to the current window exhibition by The PSTA‘s icon diploma graduates, only a few months later.

 

illuminated manusript armenina nativity

st-albans-psalter1-cruwys

I couldn’t resist following on with two more icons based on an illuminated manuscript – this time the St Albans Psalter, both pigment rich examples.

icons-cornelissens2-cruwys

Passer-by stops for a photo (photo JLC)

mary-magdalene-announces-res-to-disciples-cruwys

Mary Magdalene announces the resurrection of Christ to the Disciples

three-maries-at-the-tomb-ronniecruwys

Three Maries at the empty tomb of Christ

So this is our last week on show in the heart of London as the display comes down on Friday. It has been an honour and such a blast – thanks from all of us icon graduates to Nicholas Walt and the staff at Cornelissens for our moment of glory in your window and not forgetting Patricia and Lin who were instrumental in making all this happen.

Thanks for reading,

Ronnie

Lettering of the Melisende Psalter

hand made book of the Melisende letters

‘Melisende’ –  lettering from the 12th c

Long overdue, but here’s the last installment from my dissertation on lettering which would be lovely to see adapted for use on contemporary western icons. For the last subject, I chose the Melisende Psalter, an extraordinarily beautiful example of ‘East meets West’.

It was written in Latin and thought to have been produced in the scriptorium of the Monastery of the Holy Sepulchre, in the Crusader Kingdom of Jerusalem sometime between 1131 and 1143. It is attributed to the work of six artists, and a scribe who are thought to be of French or Italian origin as the work reflects their backgrounds.

The introduction features 24 full page miniatures of scenes from the life of Christ, with Greek inscriptions, painted with gold backgrounds.

Annunciation Melisende Psalter British Library crop.png

Detail from the Annunciation (image from the digitised British Library Manuscript)

The manuscript is held in the British Library Manuscripts Department (Ref Egerton MS 1139), London.   

The word psalter derives from the old English word psaltere/saltere which came from church Latin Psalterium and simply means ‘a volume containing the Book of Psalms’. These hand written and illuminated books often had other devotional material bound in as well and were most widely owned by wealthy lay persons. They predate the later emergence of the ‘Book of Hours’.

5-a-melisende

Letter A adapted from the Melisende Psalter

Looking at the letters in this manuscript, it was hard to know where to begin as there are so many examples to choose from. It really is a rich resource for both iconographers and calligraphers alike.

I decided to illuminate a few letters to bring out their qualities as stand alone designs. The letters are confident and stems terminate with a flourish and the double stems add a light but strong quality to the letters. This example is painted with Azurite and Malachite. I have applied a few washes of azurite over the malachite to get this velvety soft green.

letter B Melisende

Melisende letter B

This example is painted with lapis lazuli and malachite. I’ve washed a few layers of blue over the green to deepen the green and offset the brightness of the gold.

The letters themselves are on raised gesso – a slightly more flexible mix to the gesso used for icons. This is Patricia Lovett’s recipe and it gives a flexible surface which burnishes up a treat when gold leaf is applied. Patricia’s book ‘Illumination Gold and Colour’ gives more practical guidance on this and is on sale at Cornelissen’s in London (or by mail order)  where you can get all the materials needed to paint your own letters. If you do get a chance to visit Cornelissens in the next few weeks, you will see some of the work by the icon diploma students on display in the window – more about this in the next post.

Before I share the letters which I painted from this manuscript, I’d like to give you a taster of one of the illuminations in this psalter as how it’s a useful resource for icon painters.

magi bring ing gifts melisende

Melisende Psalter – Magi bringing gifts to the Christ Child, Image from the British Library Digital library

To see this image and others in the psalter, here’s the link to the British Library page.

I love the movement of the Magi and how their composition directs the viewer’s eye to observe them placing their gifts at the feet of the Christ Child under the stern direction of the angel. Even though these are tiny paintings, they are dynamic and vibrant.

Back to the lettering. I’ve attached an eight page document with a full alphabet of hand painted letters which are an interpretation of the letters in the Melisende Psalter. Feel free to print them off or save them till later for use on your own icons. I would love to see them in use one day! 11-melisende-letters-v1

letter C Melisende gilded lapis lazuli

Letter C in Lapis lazuli – based on examples in the Melisende Psalter

Thanks for reading,

Ronnie

Show Time!

fixing icons at exhibtion

Icon hanging begins – and no – I’ve not driven Iain to smoking – yet!

I’m still getting over this last week. It’s been intense; a wonderful and unforgettable week. Lots of planning, packing, dawn starts, long car trips, carting, hanging, dismantling and so on.  I’m a relative local living in Staffordshire so my friends travelling from Sweden, Germany and Dublin must be feeling exhausted.

I’m going to add a few practical tips for anyone who is planning an exhibition. Plan well ahead. Bring large and small spirit levels, electric drill with selection of screws, pencil, measuring tape, portable steps, blu tack, plenty of bubble wrap, sellotape, pritt stick, masking tape, the cling film roll tape that protect sides of pictures, plastic crates with lids, flask and snacks.

icons in back of car

Wrap up the icons well.

When the car load was dropped off outside the PSTA, in Shoreditch, the doors weren’t yet open. Although not raining, it was overcast and I was glad the icons were all in waterproof containers and well wrapped. Pre-book your car park in London – it’s much cheaper.

Ronnie And the mandilion

Placing the Mandilion

Invite family and friends to help. My husband helped me put all the icons up and our son arrived with his camera and took this shot and a few others. It was non-stop all day – you have to work at quite a pace to get finished before closing time.

icons by Ronnie Cruwys

Sun glancing in from the rooflights

Bring a tube of polyfiller and a scraper as there is the inevitable re-shuffle to get things right. Thanks to Romsay at the PSTA, for finding some white paint and a roller too!

Icons by Ronnie Cruwys

Most of my work up

Susan, a fellow student – or graduate (that sounds good!) kindly lent me this table as I wanted to share my Nativity workbook, lettering books and some of my course work folders. I will write a little more about the Nativity workbook on another post.

visitor to triptych

Triptych up and an early visitor arrives

While we were putting up our work in the main exhibition area, Aidan was busy placing more work out in the foyer.

Aidan putting icons up at PSTA Shoreditch

Aidan displaying students’ icons in the foyer

We left the PSTA late Saturday afternoon with Aidan kindly finishing up for us.  When I returned on Tuesday for the Preview, this was the glowing view from Charlotte Road. The evening went in a whirl – I wanted to speak to so many more visitors than I did – to thank you all so much for coming and for being part of this blessed and beautiful stage in our life as fledgling icon painters.

My thanks go to the PSTA for running this course but especially to Aidan Hart for his spiritual guidance, patience and his innate joy shared with us, his diploma students, throughout the last three years as he has taught us how to see with the eye of the heart.

9 PSTA.jpg

All quiet before the doors open for the Preview  

I hope to be able to share a link to photos of all our work once these have all been co-ordinated on a photo-sharing site, but the next post will be about our exhibition now up in Cornelissen’s…watch this space!

Thanks for reading,

Ronnie

8-sisters

My sister –  this one is Meggie!

 

 

 

Colour Crunching

3 Stones variety of colour

Variety of colour in a handful of washed ‘Chrysocolla’

A very happy New Year to you! Hope you are all blessed with a little peace wherever you are over these twelve days of Christmas.

Our final icon for the diploma course will be a festal icon. I have chosen the Nativity in which I am planning to use some soft earth colours. To get me set up for the year ahead, I’ve been crunching minerals to make my own pigments with some surprising results.

I had a small batch of Chrysocolla which I bought from the Lapidary Shop in Burslem, Staffordshire. This is a bright blue-green copper based mineral, closely associated with malachite and azurite.

1 Chrysocolla rough stones

Chrysocolla as rough cut mineral fragments

Before I began to grind it with a pestle and mortar, I separated out some of the brighter and darker pieces to divide it into three batches.  This post is mostly photos so please join me for a minute to enjoy the gorgeous rich colours which have emerged from this exciting mineral.

 

2 Chrysocolla washing stones

First wash the chrysocolla to remove debris, then let it dry out.

4 Chrysocolla colour variants

Grind with pestle and mortar before fine-grinding on the slab and muller.  Note the jars for levigating the finely ground mix scooped up from the slab.

Crunch about a tablespoon at a time until it is the texture of fine salt. Then tip the powder on to the slab, add a tablespoon of water and grind until really smooth, anything from 5 to 10 minutes with firm rotating movement.

The next few photos will give you an idea of the variety of greens which can be found in this mineral.

5 Chrysocolla.jpg

Add water by the spoon to the pigment. Use a plastic palette knife to scoope the mix back to the middle.

6 Chrysocolla

Copper green

7 Chrysocolla

Earth green

When the pigment is smooth and fine, use a spatula and a mop paintbrush to scoop up the mix and drop into a jar of water. Let it settle for half an hour, then pour off the top water into another jar and let that settle. Have another jar of water to rinse your brush in between batches and you will collect more pigment as you go along. I used over a dozen jars for this process.

8 Chrysocolla

Softer earth green

9 chrysocolla

Blue green

I poured the mix from the bottom of the jars onto plates as it dries out faster. When it’s dried, use a stiff brush and gather it into a jar.

10 Drying pigments

levigated chrysocolla pigment

Variety of greens all from separating and levigating the ground pigment.

To see Aidan Hart demonstrating this process in one of the diploma classes, please have a look at the You Tube video Aidan Hart demonstrates grinding azurite pigment.

I now have a great selection of greens! I also ground up some Haemetite, azurite, pyrites and malachite. All came out pretty well.

Thanks for reading.

Ronnie

jars of pigment

Array of green pigments all from the same batch of chrysocolla.