The first highlight (except the flesh)

The function of the first highlight is to be a support and a base for further highlights. Many iconographers tend to use directly titanium white to imitate the last highlights without taking the time to prepare carefully the preliminary layers. Such an attitude generally renders very contrasted icons with raw highlights as a result...

This highlighting can be done by floating ("petit lac" method) or brushing... The most important thing is to apply a very transparent layer in order to get a soft transition between the local color and the final highlights. White lead is the only white pigment that offers an optimal degree of transparency. Zinc white, however, gives a similar result when it is well diluted.

Once the first layer of highlights is very dry, it is necessary to stump it to increase the fusion of tints, to erase the brush strokes and to fix the colour. Use emulsion diluted in 50% of water and work with a dry brush by rapid touches. While stumping, do not insist for a long time in the same place as you could make "holes" in the highlights. (If this happens, let it dry completely and retouch it with the initial mixture and stump it again...)

The left Angel

This highlight is a particular one because it must reveal, by transparency, the blue of the dress from below while adding a chromatical effect.

The mixture for this highlight is made of white lead, a touch of yellow ochre, a small point of ultramarine blue and a small point of titanium white. This point of titanium white will help to obtain the semi opaqueness this highlight has, as well marked on the original.

The most difficult thing about making this mixture is to find the right proportion of blue... The best thing to do is to make trials on a practice board colored by a transparent layer of mixed yellow ochre / red ochre.

The right Angel

The first highlight of the green dress has to merge gradually with the green of the first layer. Here stumping will be determining. The color is a mixture of white lead with a point of veronese green and a small touch of viridian.

The blue garment

Use a mixture of lead white with a point of cobalt or manganese blue. While stumping – required since white lead always leaves marks on this type of blue – add a point of cobalt blue to the mixture egg / water to reduce the natural "greyness" of white lead.

The highlights on the red garment of the central Angel

Choose some folds on the dark red dress and brush them with some pure vermilion red.

The mountain

The color for the highlight of the outstanding rocks of the mountain is a mixture of white lead with a point of yellow ochre, a touch of ultramarine blue and a point of titanium white. Pull the puddle towards the edges of the rocks.

The house

The highlight of the walls is done with a mixture of white lead with a point of veronese green.

The bases

The colour to highlight the carving reliefs of the bases is made with a mixture of white lead with a point of yellow ochre and a touch of titanium white.