Modeling_the_garments.pdf

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Modeling the garments
After transferring the sketch onto the gessoed panel, fill all the areas of the
garments with the proplasmos colors. Gold background should be done first; if
you attempt to lay gold after you have painted the proplasmos, it will stick to the
paint and you will have to re-do the paint layer again.
This first initial blocking is called "proplasmos colors." Let this all dry. If the
proplasmos is too opaque and you have lost the lines, re-apply the sketch, and
restate the lines again. These lines should be very light and barely
distinguishable. For this, the back of your sketch should not be dusty with
pigment; just shake it off or blow on it. Also, make sure you do not press hard on
your pencil (an empty ball-point pen is the best choice for this task), and also do
not touch the paper with your hands because this will smudge the dry pigment all
over the icon.
Make sure you mix enough proplasmos colors, because you will need them for
minor fixes even after you will have finished the work. Also, every time you take a
break, add a few drops of water to the jars with paint, so that it does not dry out.
However, do not add too much water, because if you paint with under-tempered
paint (more pigment than egg yolk in the mix), colors will come out as light, in fact
much lighter than they actually are, and when you varnish them, they go dark.
This may just throw the icon out of balance. Here is how to check if the pigment
is under-tempered: touch the surface of the dry proplasmos with a lightly wet
finger. If the spot goes dark, then it will go this much dark under varnish. If the
wet spot is not different from the surrounding area, no darkening under the
varnish will occur.
You can keep the egg emulsion up to three weeks in a refrigerator. You will need
to keep some amounts of the same proplasmos till the end of the project
THE LINES
After the entire image is transferred unto the proplasmos colors, we make a color
a little darker than the proplasmos and paint the "shaded" lines of clothes - the
folds and the contour. Of course, for each proplasmos, we would have a different
color of this shadow tone. This process of applying the dark lines is called
"opening of the icon" (α�½οίγματα). These first lines are not too dark in tone and
are done with wide brush strokes. In places where darker tones are required,
darker
SECOND LINES
are painted with thinner brushstrokes, on top of the
previous wide lines, and covering only parts of them. Follow the rule "better
twice measured than once wrong" - mistakes with lines are difficult to fix. Thus,
the proplasmos and the lines transition into each other smoothly.
PAINTING THE GARMENTS
Once the “shadows” are done, begin modeling the garments with subsequent
"lights."
The modeling of the garments can be done, generally speaking, in two ways. It is
either simply done by adding more white to the tone of proplasmos, or in dual
tones, with colors different from the color of proplasmos.
The first light differs little from the proplasmos in tone. Same can be said about
the relationship between any of the lights – be it the first, the second, or the third
light. The difference from one tone to the other should not be too sharp. Each
preceding light is wider than the subsequent one, and each subsequent light
covers only the part of the preceding darker light, and it
never
covers it entirely.
Sometimes there is a seamless transition between the lights (in exactly the way it
is done on the faces), and sometimes there is no transition as the lights are placed
on top of each other with clear demarcation boundary lines. Some garments are
modeled with only one light; this is typically done on the figures of the monastics.
Others are done in two, three, or four lights. Some garments stay dark, and
others are brought up to the brightest pure white as the last light.
When you finish with the lines/shadows and modeling with light, place the icon
farther away and look at it in a detached manner; see if some places it should be
darkened or the brighter colors are needed.
COLOR SCHEMES
All the colors are divided into two categories –
cold and warm.
The primary
colors are three –
yellow, red, and blue.
By mixing these three colors, we can
obtain countless other colors and shades. White and black are not really colors;
they are completely neutral and are neither cold nor warm. If we mix all three
primary colors – yellow, red, and blue – we get black.
If we mix only two colors out of three, we get the so called "complementary"
colors:
Yellow + red = orange
Yellow + blue = green
red + blue = purple
Orange is complementary of blue, purple is complementary of yellow, and green
is complementary of red.
When the complementary colors are placed side by side or on top of each other,
the effect is that of great luminosity. These “luminous” pairs are:
orange + blue
purple + yellow
green + red
The ancient Byzantine iconographers knew of this effect and often used it in their
work, for instance modeling the red proplasmos with green lights. They also
colored the two pieces of garment - the inner tunic and the outer cloak - in two
complementary colors such as an orange tunic and blue outer garb.
The colors can be either warm or cold. The warm colors are yellow, orange, and
red. Combinations of these three colors are also warm. Cold colors are purple,
blue, and green. Combinations of these colors are also cold. Some hues are very
“hot” and others are cooler; and we also can cool down a color if we add a cold
color to it, and vise versa, warm up a cold color by adding a warm color to it.
Addition of black and white make a color darker or lighter, but doing so does not
make the colors warmer or colder.
Here is the primary rule of modeling the garments in tradition Byzantine
iconography:
each subsequent light should be either lighter or colder than the
proplasmos, never the other way around.
That is, we can model the garments by
adding white to each subsequent light, or we can use the complementary color
but only if the proplasmos is warm, and the lights are cold. One should never put
warm lights over the cold proplasmos.
Based on these governing laws, we can present the tables of harmonious color
combinations which are known to us from the classical era of Byzantine
iconography.
WHITE GARMENTS:
1) Proplasmos: ocher +white
Lights: proplasmos + little green + white.
2) Proplasmos: white + little black (gray)
Lights: add more and more white.
3) Proplasmos: burnt umber + white
Lights: add white and a little or proplasmos, or little blue + white
4) Proplasmos: white + burnt sienna
Lights: add white
5) Proplasmos: blue + burnt sienna + white
Lights: add white
6) Proplasmos: raw umber + white
Lights: add white or white with a little black.
GREEN GARMENTS:
Proplasmos: green + black
Lights: add white, or white + green + blue
REDDISH BROWN GARMENTS (BURNT SIENNA):
1) Proplasmos: burnt sienna
First light: burnt sienna + red oxide (χο�½τροκόκκι�½ο) such as venetian red
or red ocher
Second light: red ocher/venetian red + cinnabar
2) Proplasmos: burnt sienna
First light: burnt sienna + cinnabar
Second light: cinnabar only
3) Proplasmos: burnt sienna
First light: burnt sienna + green + little white
Second light: first light + green + white
Third light: second light + white
Fourth light: white
4) Proplasmos: burnt sienna, or sienna + black
First light: burnt sienna + burnt umber + white
Second light: first light + burnt umber + white
Third light: second light + white
Fourth light: white
5) Proplasmos: sienna + black
First light: proplasmos + cinnabar
Second light: first light + cinnabar
Third light: cinnabar
6) Proplasmos: burnt sienna + blue
First light: add white to proplasmos
Second light: first light + white
BROWNISH RED GARMENTS (RED OXIDE)
(χο�½δροκόκκι�½ο = Red oxide, red ocher, Venetian red, English Red)
1) Proplasmos: red oxide
First light: red oxide + white
Second light: first light + white
2) Proplasmos: red oxide
First light: red oxide + burnt umber + white
Second light: first light + burnt umber + white
Third light: second light + white
Fourth light: white
3) Proplasmos: red oxide
(NB: Instead of black here, we can use blue or green)
First light: red oxide + black+ white
Second light: first light + burnt umber + white
Third light: second light + white
Fourth light: white
4) Proplasmos: red oxide + black + white
First light: proplasmos+ white
Second light: first light + white
Third light: second light + white and so on.
CINNABAR GARMENTS
1) Proplasmos: cinnabar
First light: cinnabar + white
2) Proplasmos: cinnabar
First light: cinnabar + yellow ocher + white
3) Proplasmos: cinnabar + ocher + white
First light: proplasmos + white
4) Proplasmos: cinnabar + red oxide
First light: proplasmos + white
OR
proplasmos + ocher + white
5) Proplasmos: cinnabar
First light: cinnabar + raw umber + white
Second light: first light + little green + white

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