Traditional iconographers, historically monastics though today including a significant number of formally trained lay practitioners, are generally expected to prepare for the work spiritually as well as technically, through prayer, fasting and confession undertaken before and during the process of writing a significant icon, on the premise that the iconographer's own spiritual state genuinely bears on the fitness of the resulting image for its liturgical purpose, an expectation with no real parallel in the training of a secular painter. Technique follows an inherited and highly specific traditional method, working in egg tempera on wood panels prepared with gesso, building the image in successive translucent layers from dark ground toward light, a technical progression given its own theological reading within the tradition as an image of spiritual ascent from darkness toward divine light.
Once completed an icon is typically blessed liturgically before being placed for veneration, a step Orthodox theology treats as significant even though it does not, in Orthodox understanding, create the icon's sanctity from nothing so much as formally set apart for devotional use an image already understood as a legitimate window onto the person it depicts. Icon painting remains a fully living tradition today, taught in dedicated workshops and monastic schools across the Orthodox world and, increasingly, in the West, sustaining an unbroken technical and theological lineage across many centuries.