The third float is the brightest and purest of colors. It's light and I put two layers of it on the icon. This is the last section of the highlighting/float process, and enunciates the colors vibrantly.
Following the float, I repainted the lines of the icon. Where before some were black (a mistake the first go-round), I adjusted them to their rightful colors.
This was a sit back and gaze moment for me. Without a doubt, iconography is a spiritual discipline. When I started, it was hard to pray and paint and write. I used resources to help aid where my head and heart and hands should react. But after a more steady practice, more of me dragging myself out of bed at 5 in the morning, much more of it came naturally. And I yearned for that time, those prayers, and what God was speaking to me here.
And just as these colors shone brilliantly and vibrantly on this wood, I felt like I was shinning more vibrantly, as well.
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