Byzantine Iconography Painting Series 1: Painting Basics (3)

Explore painting a monastic black garment in Byzantine iconography, learning that true black is avoided; use a dark problemos, such as olive or burgundy, to convey black while distinguishing garments.

Prepare hot pressed watercolor paper with diluted egg emulsion and a thin layer of yellow ochre, then start the sketch with yellow ochre and black. Refine through repainting and osmosis.

Mix yellow ochre into the sketch color, adjust with more of the first color plus egg emulsion and water, then apply second layer to achieve a dark olive purple desmos.

Mix black into line color, test darkness, and deepen garment shading. Start lines at the shoulder, fill darkest areas, and blend toward the cosmos, noting the narrow side's broader shadows.

Add more black to the first layer, note that you forgot to swatch, then build up the second layer and blend it into the first.

Create a cool gray by adding white to the dark pigment for the first Fatima, contrasting warm olive purples with cool phantasmata, then glaze fortissimo with egg emulsion and water.

Adjust the first Bismarck by adding more white, test its balance, refine the second fortismere within the first, and render a black kalimavkion.

Explore painting gold garments and related objects in Byzantine iconography using the tetrachromat palette and gold leaf, with rhythmic parallel lines and a warm-up brush-stroke exercise.

Mix yellow ochre and black on photocopy paper for a warmup sketch, then paint clean lines with a long rigger brush. Rotate the surface and practice even-width lines.

Sketch a garment worn by the infant Christ on hot pressed watercolor paper prepared with egg solution and yellow ochre, exploring folds and references to Photini and Mary Magdalene.

Mix yellow ochre, a bit of red, and a touch of black to achieve a light reddish-brown; paint the poplars moss and apply the second layer.

Apply red and black to the first regiment, blending with a paper towel, with the left side lighter and the right side darker to strengthen lines and volume.

In the second collapsible, apply more black to the first layer and gradually build up the darkness, concentrating on the darkest areas to deepen contrast.

Learn to paint Byzantine garment folds with opaque color, following the lightest areas and form, using parallel and radiating lines and simple decorative patterns suitable for beginners.