September 26, 2013

Iconography


All the walls were once pristine white, and we started this project with the painting behind the iconostasis, then worked up to the Theotokos in the half-dome.



The Theophany temple, styled after the Chora, an orthodox church in Istanbul, is typical of the Byzantine style of churches of the 13th century. It is built of modern materials, therefore, modern murals and techniques were applied for the iconography on the walls.

The artists consulted with Victoria Ryan of Art Care Services before any work was started, to determine the most archival materials and methods for these murals. The icons are painted on canvas with acrylic paint, then cut and glued with a special adhesive called Beva Gel. This glue is available from Conservators Products Company. It is a reversible application, allowing for the removal of the icons if this should become necessary for any reason.

It is also much easier for the artists to paint the artwork in their own studio, and then spend only a few days applying the completed iconography to the walls.


Considerable research was required to plan the murals to be painted. Many online sources were examined, and books were reviewed for insight and inspiration.


And much discussion between artist and priest ensued.

April 8, 2013

Stained Glass Window

Christ in Majesty at St. Mary's Cathedral in Colorado.


St. Mary's Cathedral Tabernacle Door

Cast bronze crucifixion with gold leaf overlay.


August 4, 2012

Installed Murals



Click on picture to view larger



Installation Day

Measuring and getting hangers in place, which turned out to be a bit of a challenge. The wall wasn't quite what it seemed to be - plaster over old brick rather than concrete.


July 31, 2012

Three Panel Mural

Complete with gilding except for detailing and frame.


Click on the photo to enlarge.

Right Angel



Detail

Gilding Process


Laying the gold over the bole and size-prepared cross motif.




After rubbing, the back paper is removed.


The adhered gold is then gently brushed of excess.

The gilded cross is later detailed with background color to neaten the edges.

Then on to the next gilded banding.

It's a time-consuming and meticulous process, but well-worth the end result.

July 25, 2012

Angel Wings and Gilding



Left Angel Panel Full


Left Angel Panel Detail


July 23, 2012

In the Details


When the under-painting and the color balance has been established, detail painting begins.

Close-up of left angel icon

The unique drapery shadows and highlights of iconography being added below.


July 22, 2012

St. Mary's Mural Painting Continued



Next, color is laid into the mural and balance checked.


Below is an example of background lily frieze underpainting and color overlay with detailing.


Here is the center mural panel with detailing added.

Right angel full







Left angel head
Right angel head












The dark shiny red tone behind the angel heads is bole, or the underground for gold leaf that will be applied last. For more information about gilding, click here.




Detail with gold leaf applied

July 12, 2012

St. Mary's Catholic Cathedral

The original designs

Preparing the canvas and getting ready to build supporting framework



Preparing paint for the marbelling


The artist at work on the faux marble painting


Sketches of the mural figures left panel and center

Right panel detail sketch

"Carving" detail on three lower panels

 Gluing canvas to frame with archival BevaGel adhesive

One finished lower architectural panel

Left, center, and right murals in process

Detail right panel

Detail left panel


October 23, 2010

Design ideas for St. Catharine of Siena

(Originally posted in 2008 and bumped up for reconsideration and additional design discussion with client.)

We've been away working on some church murals at another church, but had a break to moodle some more designs for the clerestory windows at St. Catharine of Siena. Here are variations and ideas:




All are in the $2,000/each range x eight windows, except for the most simple bottom window which is less.
Cost is determined by various factors, including the number of pieces of glass in the window, the particular glass chosen, whether glass-painting is involved, and the materials market in general.

Because glass and metal are selling at all-time highs right now, quotes we send out to clients are only good for three months. The stained glass industry is very labor and energy-intensive, not only because they require huge inputs of energy to manufacture, but also because they are not common commodities, often being imported from overseas. Many art glasses, for example, are manufactured in Europe. High oil costs immediately drive the cost of shipping up, and thus the cost of glass. This is above and beyond the intensive energy useage required to run the glass furnaces and manufacture the glass to begin with. The lead came cost is also being driven by scarcity of metals, so this is another factor to consider.

Below are suggested designs for windows in the choir portion of the church, four total which will each have a different symbol for the four evangelists. This one is for St. Luke. Here are two possibilities, and at bottom left the beginnings of a third:


These larger windows will cost from $3,000 - $4,000 each.

If symbols of the four evangelists aren't what the church would like, another option would be full-figure depictions of the saints. These, of course, would cost a bit more.