![]() ![]() After the first coat, wait 20 minutes to dry out, then apply a second coat. I wouldn’t recommend wiping the same place several times. Be careful, please do not leave dry areas. With quick, neat, even movements I wipe the areas for gilding. Then I fold the cotton pad in half, dip it in the glue mix and wring it out. The middle icon consumes a teaspoon of the glue mix. ![]() I take 1 portion of water to 3 portions of glue. Also, clean the room from dust before gilding. After polishing, the icon must be completely cleaned of dust. Perfectly prepared surface – perfect result of gilding. Eventually, the polished surface should be smooth – without scratches, because all of that will be visible after gilding. ![]() Otherwise, the applied glue will absorb during gilding and the gold will not adhere. When polishing, please be careful not to expose the gesso. ![]() Dried shellac hardens and is easy to polish.įor polishing shellac, use sandpaper with a grain size of 800 to 2000. This usually takes one to three days, depending on climate. After all layers have been applied, dry the surface thoroughly. Usually, it is a less concentrated shellac than self-made. If you use shellac from a store, I think you may need more layers. For this, I dissolve 5 ounces of shellac flakes in 500ml ethanol – 95%. Each coat should dry before applying the next one. Apply several coats of shellac with an interval of 15-20 minutes between them. Use a wide, flat synthetic brush for that. Preparation, Shellac and polishingĪfter the drawing is made on the gesso, the areas for gilding should be covered with shellac. Here, I share the simple technique, suitable for beginning iconographers as practitioners. Various gilding techniques are known, both simple and more complex. Holiness, greatness, heavenly world – this is what the gold on the icons symbolizes. In my practice, I use only real gold leaf. Presently, many people can master this skill by themselves. Iconographers often gave icons to professional gilders for gilding. This technique came to Rus in the 13th century. Gilding in icons is found already in the IX-XI centuries. The gold background looks like the icon has no bottom. Such depth can only be conveyed with gold, colors are powerless in this. With its help, they were able to simultaneously convey both eternity – the absence of time and space, and the holiness of the depicted. Since ancient times, Byzantine iconographers have used gilding. Gold in the icon is a symbol of Divine Light, Truth and Glory. Thank you so much for contributing your time and experience, Olga! Gilding Method with Water-based Glue Gilding Is Important In Iconography There are many ways to gild our icons and it’s helpful to be aware of each one until an iconographer finds the way that works best for them. This month we have an article contributed By Olga Iaroslavtseva on a form of gilding that she recommends. Valerie Cullers on The Worldview of an Icono… Michael and Christin… on The Worldview of an Icono… Valerie Smith on The Worldview of an Icono… View Christinesimoneauhales’s profile on YouTube.View Christine Simoneau Hales’s profile on LinkedIn.View Christinesimoneauhales’s profile on Pinterest.View christinesimoneauhales’s profile on Instagram.View Heavensvisions’s profile on Twitter.View Christine Hales Art/Icons’s profile on Facebook.… Continue reading Inver Michael Halesįollow American Association of Iconographers on Social Media Inverse perspective is one of the compositional elements that cause an Icon to differ from a religious painting. This highly important topic isn’t often covered in icon writing classes, so there was a lot of research involved. I recently gave an online Icon writing retreat where one of the main topics covered was inverse perspective. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |