St. Thomas Aquinas High School ~ Risen Christ
August 26, 2019:
The icon of the Risen Christ will be traveling by ferry on Tuesday August 27th at 11:05am (Departure Bay to Horseshoe Bay).
The icon of the Risen Christ will be traveling by ferry on Tuesday August 27th at 11:05am (Departure Bay to Horseshoe Bay).
August 6, 2019:
Coast Salish Risen Christ Icon 2019
28" x 48" Archival Acrylic & 23K Gold on Baltic Wood
St. Thomas Aquinas Catholic High School Chapel
North Vancouver, BC
28" x 48" Archival Acrylic & 23K Gold on Baltic Wood
St. Thomas Aquinas Catholic High School Chapel
North Vancouver, BC
August 5, 2019:
The icon has been completed, and varnished. I'm suppose to wait a few days before applying the second coat, but hopefully, I'll be able to take proper pictures of the icon tomorrow.
The icon has been completed, and varnished. I'm suppose to wait a few days before applying the second coat, but hopefully, I'll be able to take proper pictures of the icon tomorrow.
|
|
July 30, 2019:
One plans and then must be prepared for the unexpected. The plan was to to have this icon completed by now. The reality is that it isn't!
Because the gold setting had taken so long to set, I thought it best to let the icon set for another few days after sealing the gold with its first coat of varnish. Rushing it could be disastrous.
I had finally reached the point where I could continue writing the icon, but all the while, protecting the gold by keeping it covered. There was much to still do. I start at one end and work my way to the top (with the face being the last step.
But another hurdle which has lost me time was the white woven shawl/blanket. Yesterday, after a third day of reworking its design, I ended up having to sand down a section again and start over. My task today is to finally find the solution. What's the problem? I'm having to adapt what would normally be a very heavy woven goat's wool, so that it can drape over Christ's arms. Being so thick, the blanket is normally worn just hanging down from the shoulder and covering the arms. So I'm adapting a lighter woven material version, in order to maintaining the essentials of the design. All the while trying to 'suggest' some components, and overcome the sharp angle of the left arm.
So the stress level has cranked up a bit, as I am very aware that the large Holy Family icon is waiting to be started. Commission works, and their time lines, are set in stone as to expenses and income. Unforeseen expenses and time delays are my cost. Fortunately, my knack of scheduling as been pretty much on track for the most part through the years.
With having completed the St. Monica icon project over 9 months, and once the STA Risen Christ icon is done, I will begin the large Holy Family icon. Always having to look forward to secure others commissions, I am always looking to fill in the vacancies thereafter. In order to fulfill that, this iconographer really depends on word of mouth from his followers and former clients. All inquiries and/or questions can be sent through my 'Contact' .
One plans and then must be prepared for the unexpected. The plan was to to have this icon completed by now. The reality is that it isn't!
Because the gold setting had taken so long to set, I thought it best to let the icon set for another few days after sealing the gold with its first coat of varnish. Rushing it could be disastrous.
I had finally reached the point where I could continue writing the icon, but all the while, protecting the gold by keeping it covered. There was much to still do. I start at one end and work my way to the top (with the face being the last step.
But another hurdle which has lost me time was the white woven shawl/blanket. Yesterday, after a third day of reworking its design, I ended up having to sand down a section again and start over. My task today is to finally find the solution. What's the problem? I'm having to adapt what would normally be a very heavy woven goat's wool, so that it can drape over Christ's arms. Being so thick, the blanket is normally worn just hanging down from the shoulder and covering the arms. So I'm adapting a lighter woven material version, in order to maintaining the essentials of the design. All the while trying to 'suggest' some components, and overcome the sharp angle of the left arm.
So the stress level has cranked up a bit, as I am very aware that the large Holy Family icon is waiting to be started. Commission works, and their time lines, are set in stone as to expenses and income. Unforeseen expenses and time delays are my cost. Fortunately, my knack of scheduling as been pretty much on track for the most part through the years.
With having completed the St. Monica icon project over 9 months, and once the STA Risen Christ icon is done, I will begin the large Holy Family icon. Always having to look forward to secure others commissions, I am always looking to fill in the vacancies thereafter. In order to fulfill that, this iconographer really depends on word of mouth from his followers and former clients. All inquiries and/or questions can be sent through my 'Contact' .
July 20, 2019:
The gold has been finally given its first coat of sealer. It took longer to set with the variables of humidity and temperatures.
The gold has been finally given its first coat of sealer. It took longer to set with the variables of humidity and temperatures.
July 18, 2019:
For every gold leafing, it is critical to protect the surface and drying adhesive form dust, lint, and in my case, from cat hair. The drying and setting process varies from one icon to another, factoring in changing humidity and temperatures.
In the past, my studio spaces have have a door which I could keep closed. But in an open space, I need to assemble a plastic canopy, which in turn creates a sauna for myself.
For every gold leafing, it is critical to protect the surface and drying adhesive form dust, lint, and in my case, from cat hair. The drying and setting process varies from one icon to another, factoring in changing humidity and temperatures.
In the past, my studio spaces have have a door which I could keep closed. But in an open space, I need to assemble a plastic canopy, which in turn creates a sauna for myself.
Once the canopy is in place, I can then add the layer of gold size and then set the timer. The timing for reaching 'tack' also varies. You just have to keep doing the knuckle test to gauge. Once tack is pretty much set (and remembering that you need to lay in all the gold before the size has fully dried), I begin laying in the patent gold. Is is important to keep the sheets in a clean grid and all going in the same direction. As the space is always kept warm to assist drying, I also wear a sweat band to keep the sweat out of my eyes, and from dropping on the gold size or gold.
I added the gold leaf 2 days ago and let it set. Being the 3rd day, I tested the gold and found that it will need another day before I can proceed. The gold is very vulnerable at this time.
This is a side view of the icon while it is setting. I also need to keep an eye on my curious cat, and so far, she has been great about not getting the idea of jumping up. ;-)
This is a side view of the icon while it is setting. I also need to keep an eye on my curious cat, and so far, she has been great about not getting the idea of jumping up. ;-)
July 15, 2019:
Having done some work on the waterscape of the icon, and made a few alterations, I've reached that point where I need the gold leaf in order to assess the remaining journey in writing the icon.
Having done some work on the waterscape of the icon, and made a few alterations, I've reached that point where I need the gold leaf in order to assess the remaining journey in writing the icon.
|
|
But in order to proceed, I needed to protect the waterscape, which was done in successive washes. I need to let the upper right hand corner set until tomorrow as I needed to restore the background there and give it a coat of gold size. It can't be sanded with 1200 sandpaper so long as the size still feels a bit sticky to the touch.
All going well, I will doing that tomorrow (July 16) and then let the gold fully set for a few days. This is the really delicate phase as the gold leaf has no protection against scratching etc. But before I can give it its first coat of protective sealer, I also need to restore any lines bordering the gold, along with painting in the halo and any inscription which will be under the sealing varnish.
All going well, I will doing that tomorrow (July 16) and then let the gold fully set for a few days. This is the really delicate phase as the gold leaf has no protection against scratching etc. But before I can give it its first coat of protective sealer, I also need to restore any lines bordering the gold, along with painting in the halo and any inscription which will be under the sealing varnish.
July 5, 2019:
Having completed the St. Augustine icon, the last icon for the St. Monica Church project of 8 in the series, I will be preparing it for delivery this Monday. After that, I can return my focus to the Coast Salish Risen Christ.
Having completed the St. Augustine icon, the last icon for the St. Monica Church project of 8 in the series, I will be preparing it for delivery this Monday. After that, I can return my focus to the Coast Salish Risen Christ.
June 13, 2019:
I took some time to develop some base colours, and finalize designs and symbolisms. I will need to complete the St. Augustine icon first (to complete the 8 icon project for St. Monica's in Richmond), but wanted to get the Coast Salish icon established so that I can return to it asap. Note: the red basecoat is wherever there will be 23K gold leaf.
I took some time to develop some base colours, and finalize designs and symbolisms. I will need to complete the St. Augustine icon first (to complete the 8 icon project for St. Monica's in Richmond), but wanted to get the Coast Salish icon established so that I can return to it asap. Note: the red basecoat is wherever there will be 23K gold leaf.
June 2, 2019:
It has been a busy week of board preparation and finalizing the design for the new Coast Salish icon of the Risen Christ. I didn't bother including all the steps of studio preparation for the messy process of adhering the muslin onto the board, and the successive goats of gesso and sanding. These have been included in other icon journal entries on the webpage.
I then transposed the design onto a full size grid, which was then transferred to the icon board board itself once the gesso was in place. I got the image inked in this weekend, and it is ready to develop the base colours.
It has been a busy week of board preparation and finalizing the design for the new Coast Salish icon of the Risen Christ. I didn't bother including all the steps of studio preparation for the messy process of adhering the muslin onto the board, and the successive goats of gesso and sanding. These have been included in other icon journal entries on the webpage.
I then transposed the design onto a full size grid, which was then transferred to the icon board board itself once the gesso was in place. I got the image inked in this weekend, and it is ready to develop the base colours.
May 25, 2019:
Preparations are under way for the next icon for the Chapel in St. Aquinas High School in North Vancouver, BC.
It will be a Coast Salish icon of the Risen Christ. More details to come.
First, I have to get through the messy and testy process of adhering the muslin, after which the numerous coats of gesso are applied and sanded.
