May 15, 2009
Silverpoint is another ancient technique that is receiving renewed attention these days. Jan van Eyck and the Flemish masters are reputed to have regularly used it as a drawing tool. Artists like Picasso and Joseph Stella brought it into the 20th century art world. The final design stands softly but well on its own or can be incorporated as an underdrawing into a painting.
There is an informative site at silverpointweb.com which offers a lot of practical information as well as sales of silver tips and a ground for the drawing support. I bought some of my pure silver tips from him a few years ago. The silver renders a soft, warm gray line that can darken upon exposure to light – just like the silver content of a photograph. The line itself is indelible so it cannot be erased. Another experiential resource is international silverpoint archives.
Drawing with silver is a very simple but time consuming technique. A thin piece of silver is inserted into a drawing stylus instead of a piece of lead. The silver can be obtained from a local silversmith. I have used both pure silver and sterling. The pure silver is reputed to create a slightly darker line, but I have not yet noticed the difference (which could be due to my gessoed surface not having enough tooth, so take my experience with a grain of salt). Points can be chiselled fine or beveled. Darker tones are achieved by repeated gestures and not by an increase in pressure.
The drawing surface seems to make a great difference in results. The surface should have a slight “tooth” to it, to draw out the silver particles. I have used both white gessoed panels and toned paper. The toned watercolor paper clearly had the tooth to pull out the silver, but the value of the silver was so close to that of the paper that I finally opted for the white panels. Thus far the panels have given fine results which I have then used as underdrawings for some of my paintings.