How Byzantine Icons Are Made: Traditional Materials & Techniques

A comprehensive guide to the ancient craft of Byzantine iconography — from preparing wood panels and applying gesso to gilding with gold leaf and painting with egg tempera.

Detail showing the luminous quality achieved through traditional egg tempera and gold leaf techniques

Introduction

Byzantine icons are not merely painted — in Orthodox tradition, they are said to be "written" (graphein in Greek). This terminology reflects the theological depth of the craft: like Scripture, icons communicate divine truth through a sacred visual language developed over centuries.

The materials and techniques used by traditional iconographers today are virtually unchanged from those employed by medieval masters. Understanding this process reveals why authentic icons require months of patient work and why they can endure for centuries.

Overview of the Icon-Making Process

Creating a traditional Byzantine icon involves seven distinct stages:

1. Panel Preparation — Selecting and preparing the wood
2. Gesso Application — Building up layers of ground
3. Drawing Transfer — Applying the composition
4. Gilding — Applying gold leaf
5. Painting — Egg tempera application
6. Inscriptions — Adding sacred names and titles
7. Varnishing — Protecting the finished icon

Each stage requires specific materials, skills, and patience. Rushing any step compromises the icon's longevity and beauty.

Stage 1: Panel Preparation

Wood Selection

Traditional iconographers use specific woods known for stability and durability:

Seasoning

The wood must be properly aged — ideally 2-5 years — to prevent warping and cracking. Freshly cut wood contains moisture that will cause the panel to move as it dries, potentially cracking the gesso and paint layers.

Panel Construction

The cloth layer, traditionally linen, bridges any joins in the wood and creates a stable foundation for the gesso.

Stage 2: Gesso Application (Levkas)

What is Gesso?

Traditional gesso (Greek: levkas) is a mixture of:

• Chalk (calcium carbonate) — The white pigment base
• Rabbit skin glue — Natural adhesive binder
• Water — To achieve proper consistency

This is not the same as modern acrylic "gesso" sold in art stores, which lacks the proper absorbency for traditional gilding and egg tempera.

Application Process

This multi-layer approach creates a luminous white surface that reflects light through the translucent paint layers — a key element of Byzantine icon aesthetics.

Stage 3: Drawing Transfer

Sources and Preparation

The iconographer works from established prototypes (podlinniki), ensuring fidelity to canonical forms while allowing for artistic sensitivity.

Transfer Methods

• Pouncing — Pricking holes along a cartoon's lines, then dusting with charcoal
• Incising — Gently scratching lines into the gesso
• Freehand — Experienced masters may draw directly

The incised lines remain visible even under paint layers, helping guide the work and remaining as part of the icon's structure.

Stage 4: Gilding

Types of Gold Leaf

Water Gilding (Traditional Method)

The highest quality gilding technique, used for backgrounds and halos:

The red bole shows through microscopic gaps in the gold, creating warmth and depth impossible with other methods.

Details showing intricate brushwork and the luminous quality of egg tempera over gold

Gilding Techniques

• Flat gilding — Smooth, mirror-like backgrounds
• Tooled gilding — Patterns impressed into the gold
• Punched gilding — Decorative dots and designs
• Assist (Assista) — Gold lines over paint for garment details

Stage 5: Egg Tempera Painting

What is Egg Tempera?

The oldest painting medium still in continuous use, egg tempera consists of:

• Natural pigments — Ground minerals, earths, or organic sources
• Egg yolk — The binding medium
• Water — For dilution
• White wine or vinegar — Sometimes added as preservative

Traditional Pigments

The Painting Process

Byzantine painting proceeds from dark to light, the opposite of Western oil painting:

This technique creates the characteristic luminosity of Byzantine icons — light appears to emanate from within the figures rather than falling upon them from outside.

Detail: Procession of saints showing individual expressions, elaborate vestments, and Byzantine architectural elements

Painting the Face (Lik)

The face is considered the most sacred element and is painted last. Traditional masters follow careful proportional systems based on the length of the nose as a unit of measurement.

Stage 6: Inscriptions

Every icon bears sacred inscriptions identifying the figures depicted:

Common Inscriptions

• IC XC — Jesus Christ (Greek abbreviation)
• MP ΘΥ — Mother of God (Μήτηρ Θεοῦ)
• Ο ΩΝ — "The One Who Is" (in Christ's halo)
• Saint names — In Greek, Slavonic, or local language
• Feast titles — Identifying the scene depicted

Inscription Colors

Traditionally executed in:

• Red — On gold backgrounds
• Gold assist — On painted backgrounds
• White — On darker areas

Stage 7: Varnishing (Olifa)

Traditional Olifa

The icon is protected with olifa — heat-treated linseed oil, sometimes with added resins. This:

• Protects the paint layer from moisture and handling
• Saturates colors, revealing their full depth
• Creates the characteristic warm glow of aged icons

Modern vs. Traditional Materials

Some contemporary iconographers substitute modern materials. Here's how to identify authentic traditional work:

While modern materials can produce attractive results, they lack the luminosity, durability, and spiritual authenticity of traditional methods.

Why Traditional Methods Matter

Longevity

Traditionally made icons can survive for 500+ years with proper care. Byzantine icons from the 6th century still exist in monasteries and museums, testament to the durability of these ancient techniques.

Luminosity

The unique optical properties of egg tempera on chalk gesso — translucent layers over a reflective white ground — create an inner light that synthetic paints cannot replicate.

Spiritual Continuity

Using the same materials and methods as the ancient masters connects the iconographer to an unbroken tradition of sacred art — each icon becomes part of a living heritage.