Icon Diploma Student

Learning to see with the eye of the heart

Posts tagged ‘Fabriano artistico paper’

Archangel Gabriel – egg tempera on watercolour paper

angel gabriel

Archangel Gabriel on water colour paper

Hello icon friends, While I was recovering from the fractures, I was keen to get my arm painting or drawing again in some way. Since I was pretty limited in my mobility, I decided to make use of some pre-stretched water colour paper which was mounted on a board light enough to handle. I really liked the monochrome studies which we painted in egg tempera on paper and thought I would tackle some different garments as a way of practice before returning to make amends to the hashed up garments of St Francis.

egg tempera on paper

Drawing on to stretched water colour paper

This proved to be a delightful exercise and although it doesn’t have the translucency of painting on to a gessoed board, the results are surprisingly soft and gentle. It is also a great way of practicing if you don’t have an icon board to hand.

Underpainting garments, hair and face

Underpainting garments, hair and face

The paper is 300gsm Fabriano cold pressed water colour paper, which accepts the pigment really easily once it has been stretched. I dampened the paper again where I was painting large areas which helped to blend the pigments.

adding pigment to hair and wings


Underpainting the wings and adding membrane to hair

For the garments, I chose English Red Deep with a little Raw Umber and for the wings, I chose French Ochre Havanna with a dash of English Red Deep. The blue in the garments and hair band is Ultramarine Blue light with a dash of Raw Umber and the background is the same blue but with a little Ivory black added.

4a  angel

Adding membrane to the face and to garments

5a angelapply facial highlights

applying garment highlights

applying garment highlights

Highlights added to garments and face

Highlights added to garments and face

Applying gold leaf to the halo and wings

Applying gold leaf to the halo and wings

Prints and cards of Archangel Gabriel are now available to buy from Smith York Printers

An Archangel for Christmas

Archangel Gabriel on Watercolour Paper.

egg tempera painting

Archangel Gabriel on watercolour paper

Christmas greetings icon friends!

A few lines to say thank you for your companionship during my first year of icon painting. It has been lovely to have your quiet support and interest encouraging me to keep on posting and writing up notes etc!

There are a few more video clips of Aidan Hart’s in-class demonstrations over on You Tube and I have written up some supporting notes to go with them. These are not direct transcripts, simply notes to help as you try out the various stages of painting.

https://www.youtube.com/watch?v=N3a6puiMDuQ Aidan Hart demonstrates underpainting for the Membrane Technique Click here for Notes

https://www.youtube.com/watch?v=XaSi-WVHGaY Aidan Hart demonstrates applying flesh membrane to icon bust Click here for Notes

https://www.youtube.com/watch?v=Hr4R8BzMpPc Shadows and highlights on garments using membrane technique Click here for Notes

https://www.youtube.com/watch?v=CiFkJrsDS1s Aidan Hart demonstrating halos

https://www.youtube.com/watch?v=mFG-XxPqiSI Aidan Hart demonstrates painting Mandilion hair

https://www.youtube.com/watch?v=QbwE0QY1aOw Aidan Hart demonstrates painting garments Click here for Notes

I have enjoyed the monochrome icon studies on watercolour paper and thought I would have another go at the Archangel Gabriel based on the Annunciation of Ustyug. I stretched some Fabriano Artistico paper and painted using the membrane technique. The colours are much softer on paper – lines are not quite as crisp unless you go over them several times. However, it is a great way of practicing if you haven’t got a board prepared.

1 Angel gabriel study

Underpainting: the face is in Terre Verte and a touch of Yellow Ochre Maimeri, garments and wings in a mix of English red ochre, French ochre Sahara and Avana.

Yellow ochre Maimeri eith titanium white and red ochre light

Membrane applied to flesh parts.

Building up the hair and facial highlights.

4 Angel Gabriel study

Highlights added to wings and sleeves

Preparing to gild

Preparing to gild using Roberson’s gilders size – applied over the halo which has undercoat in red ochre.

Gilding the halo

Gilding the halo. Applying final facial highlights

9 Complete Angel Gabriel study

Finished angel with halo, staff and lettering.

It is a better attempt than my last one but there is a long way to go before I become fluent and produce anything nearly as elegant as the original. All the same, it comes with my very best wishes for a happy, peaceful and blessed Christmas wherever you are in the world. Thanks for reading.

Happy Christmas, Ronnie

Gabriel at Large

Gabriels face appears

Gabriels face taking shape

Hello again icon friends,

The image above represents a quick sidestep past another effort which ended up in the experience bin. I had started this stage quite pleased with my decision to stretch myself by working on a larger image. I transferred the outline of my final drawing of Gabriel on to A2 sized paper which gave Gabriel the space to outstretched his arm in full.

Transferring the final drawing

Transferring the final drawing on to unstretched A2 Fabriano Artistico watercolour paper

On went the image using a sheet of paper which I had rubbed with Armenian red bole (a red pigment) to act as transfer paper. Then I painted lightly over these lines to fix them.

Painting on the outline

Painting the outline on to the paper

So far so good. However, as I washed over the larger areas, the paper began to cockle.

Image of Gabriel 1

Image of Gabriel 1

I then got caught up concentrating on the face rather than building up the image lightly and evenly as a whole. I looked at the face in comparison with the original and decided I had gone so far adrift that it was only paper and I should start again, and start properly. I am sparing you a larger image of my first Gabriel who looks rather stern!

Gabriel looking nothing like the original!

Gabriel looking nothing like the original!

So, down to the DIY shop to buy an MDF board cut a little bigger than A2, together with some water colour tape and this time soak the paper in the bath for a few minutes, tape it to the board and let it dry. By this stage I had had enough, so I left the board and wet taped paper flat on the floor overnight and by morning it was dry and had stretched beautifully!

Gabriel with a softer face

Gabriel with a softer face

This time, I tried to develop the whole figure and garments at the same time. There are numerous mistakes with the garment folds which I realised as soon as we got the handouts on our next Icon session but at least I can see where I have gone adrift.

I have attached Aidan’s handout notes on painting standing figures and garments if you would like to find out more on this subject. I am concentrating on our homework for the time being but will come back to Gabriel in a few more weeks.

Day 7 Aidan Hart’s handout on standing figures 24 Feb 14

Adding shading to define the forms

Adding shading to define the forms

Gabriel underway

Gabriel set on the A2 paper

Thanks for reading!

Lofty Discoveries!

Hello Icon Friends,

I am making up for time lost last week when I was out tying ‘Missing’ posters to lamp posts and scouring the internet for our pet cat. Not the little fellow you might have seen eating up my egg mix in November, but our older cat Ollie. Two nights away is unheard of for this home-loving creature. A long story cut short, we now have new friends down the road and if you lose a pet, enlist St Francis and put up posters! Ollie had climbed into their loft space where they were building an extension and got stuck. I am overjoyed to have her home and very thankful to St Francis!

So, back to the paper trial. The Saunders paper is without a doubt a treat to work on but having tried the Fabriano Artistico, I have to say that I found blending the egg tempera just a little bit easier. The paper is almost luminous and seems to make St John more appear more present.

Monochrome study of St John the Evangelist

Monochrome study of St John the Evangelist

Looking back on my posts, I have spared you my earlier image of St John. This will never do! I should be showing you how my work is hopefully progressing.

Why is it we always see things (where we have gone wrong) more clearly when we take a step back?

Why is it we always see things (where we have gone wrong) more clearly when we take a step back?

Let’s see, St John above is my most recent work, on Fabriano Artistico paper.  St John below was painted on rough white water colour paper, about 2 months ago.

Blending the paint is clumsy and the overall appearance is hard. See my post 'Core, Clarity and Confidence'.

Blending the paint is clumsy and the overall appearance is hard. See my post ‘Core, Clarity and Confidence’.

It has taken a few attempts and I am still a long way off, but I think the blending above is getting a bit softer. That said, looking at the uppermost one as I write, his whole head shape is still too round, the shape of his face too wide and flat, the eyes looking too much to the left…oh…I am going to have to have another go!

Homework update from the icon course day five: Day 5 Notes Icon Screens Day 5 26th November 2013 Feet

Before I say cheerio, here are five more quotes from “the mustard seed garden Manual of Painting” to follow from the last blog post:

Originality should not disregard the ‘Li’ (the principle or essence) of things

Learn from the Masters but avoid their faults

Posess delicacy of skill with vigour of execution

The second fault is described as ‘carving’ (‘K’o) referring to the laboured movement of the brush caused by hesitation. Heart and hand are not in accord. In drawing, the brush is awkward.

He who is learning to paint must first learn to still his heart, thus to clarify his understanding and increase his wisdom.