Brushes for Iconography
Iconography brushes are the fine tools of egg tempera: small pointed rounds that work from the very tip, long thin liners for outlines and the final lines of light, and soft wider brushes for the base layers. An icon is built stroke by stroke, and the brushes are chosen for that precision.
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An icon is built stroke by stroke. Egg tempera dries within moments and is worked in thin, deliberate layers, so the brushes of iconography are chosen above all for control at the tip.
The small pointed round is the working brush. Icon painters work from the point itself, and a good round reforms that point stroke after stroke, through the thousands of touches a single panel asks for. Kolinsky sable is the traditional standard, holding enough colour in its body to feed a long run of fine strokes, and modern synthetics now follow close behind. Sizes stay small, from 000 to around 4.
The liner carries the line. With extra-long hairs and a hair-fine point, it holds enough paint for a continuous, unbroken stroke: the dark outlines of features and drapery, the lettering, and the final bright highlights that finish a face. Wider soft brushes do the early work, laying the base tones in fluid coats that settle evenly on the gesso, and a soft flat handles backgrounds and glazes.
Art & Colour carries iconography brushes from fine pointed rounds and liners to soft base-layer brushes, beside the pigments, gold leaf, and prepared panels of the icon workshop.