The Silverpoint Composite Underdrawing
June 6, 2022
Silverpoint on tinted acrylic ground. 3 1/2 feet wide by 5 1/2 feet tall or 106 cm x 168 cm.
I’ve finally completed the sixty-four silverpoint underdrawings in preparation for a painting – as yet to come. The panels were developed individually – and were based on black and white sectionals of a photograph. The MDF panels were all prepared with an acrylic ground tinted with a mixture of dry pigments to simulate terre verte, because the actual dry pigment, terre verte, reacts negatively with acrylic rendering it unworkable – in that particular medium. Of course, I could have used a tint of white for my ground colour but I already knew how much I enjoyed working from a toned ground. The silver lines could be used to subtly create linear form while then the addition of an acrylic wash of white highlights could help it to “pop”! In addition, I coated each tinted gesso panel with a transparent covering of Golden’s Pastel Ground, in order to create a fuzzy toothiness.
Assembling the panels on the backing board.
Now, since this level has been completed I’ve encountered two main problems-to-solve: 1) in the areas of darkest value which required a lot of cross-hatching of the silver particles, the image possesses a reflective sheen. Is it possible to minimise this reflectivity?; 2) even though silverpoint has the reputation for leaving an indelible mark, I have found that that is not really the case. Both water and a kneaded eraser can, in fact, diminish the image. So, before I proceed any further, I want to “fix” the drawing. What material should I use to do this? A traditional pastel fixative or a matte acrylic varnish? In addition, would this proposed fixative help to diminish my sheen problem?
After some research and consultation with the expert folks at the University of Delaware’s MITRA forum, I have decided to spray an adequate covering of Lascaux (an acrylic medium containing B-72) Fixative over the whole assemblage before proceeding any further. Because I anticipate further layers of abstraction, using a Liquitex transparent titanium white spray over the image my silver sheen issue may take care of itself?
Fast forward to a few months later. The fixative, fixed, and the matte spray pain reduced the sheen.
What remained was for me to throw some paint at it.
Underdrawing for egg tempera
October 2, 2019
About ten years ago I began to experiment with silverpoint. It’s a beautiful and ancient technique that was used long before lead pencils or even the wide-spread distribution of paper. A metal point (in this case silver, though other metals were also used) is inserted into a stylus and you begin making light scratches on a ground with enough tooth to be receptive to a light deposit of the metal particles. Since silverpoint works extremely well on traditional chalk gesso, and this had already been my ground of choice for decades, there was no learning curve for me in terms of the preparation of the ground. So I began to employ silverpoint to develop underdrawings for landscapes (intended to be created in the studio). This went seamlessly since I had already transitioned to creating my paintings in the studio based on en-plein-air value studies.
silverpoint with india ink
As for the silverpoint, I was very pleased with its tactile feel. Yet – in contrast to lead pencil or ink as I quickly learned – the amount of pressure you exert has no influence whatsoever on the value you create (!). It’s only possible to create deeper values through repeated motions. Because such values are developed slowly through repetitive motions silverpoint is a time consuming yet meditative activity. Nice! It creates a great deal of fine detail – softly. Deeper values can and do develop over time, especially when the surface is exposed to light for extended periods of time. But I expected my silverpoint underdrawing to become sealed under many coats of paint so I was never too concerned about its tarnishing/darkening factor. And, since I was interested in creating landscapes where describing distance is an intrinsic factor, I began implementing india ink cross-hatching to specific dark value areas of my foreground. This enhanced the contrast. I thought I had developed a pretty cool underdrawing technique for myself. I was happy.
Silverpoint on traditional gesso panel
However, recently when I began a project of 13 panels to be executed exclusively in egg tempera, I discovered otherwise. I had naturally turned to silverpoint for my underdrawings. The work flowed. I was a happy little camper creating beautiful little silverpoint panel underdrawings in my cozy little studio. Until at some point it dawned on me that the silver of the silverpoint would naturally tarnish in the presence of the egg’s sulphur. It would be an organic process over which I would have little control. Banksy might be fine designing his paintings to self-destruct in a shredder at auction but that really wasn’t my intention here.
I quickly contacted Koo Schadler, a contemporary artist who creates beautiful paintings in egg tempera and who also does drawings in silverpoint. She was very kind and informative though in fact she did confirm my suspicions. At the same time she introduced me to the MITRA Forum, a website hosted by the University of Delaware where conservation experts are available to answer such (geeky) questions. They, too confirmed the difficulty.
Well, so what did the Old Masters do? While there does not appear to have been one set solution, because individual studios/guilds and masters all had their own approach, there does appear to have been a convention: washes of ink (or later diluted oil paint). It was fast, easy, cheap and versatile. Using it you could quickly achieve a wide range of values and on a large scale, if necessary (neither of which is silverpoint’s forté). Silverpoint may have been used early on in the design/transfer process (if you were working on panel) but even so, why carry it through when a fluid medium is so much quicker and easier?
Returning to my project, the question remained: what to do with my already completed silverpoints? Koo had initially suggested that washes of india ink (which contains shellac) might be able to seal off the silverpoint level from the egg tempera level (though the efficacy of such a maneuver was questionable). So, I began creating light washes of india ink over my existing silverpoints. I proceeded slowly and gently in order to avoid creating values too darkly, too quickly. This worked out great and seemed to enhance my silverpoint panels! I was happy (again) though nagging doubts remained. Additionally, the MITRA Forum experts had confirmed that there are no sealers on the market able to fully prohibit oxygenation/tarnish – and attempting to create a seal that would be strong enough to do so would compromise the adhesion capacities of the egg tempera. OK, got it.
India ink underdrawing after erasing the silverpoint.
So I got up yesterday and took an eraser to my panels. I began to erase all of my beloved silverpoint work. You will hear people say that silverpoint is not erasable. That’s not my experience. With some diligent rubbing the silver came off leaving only the india ink behind. Did I get it all? I don’t know, I think so, but only time will tell. But I’m no longer worried. Thus in the end, the silverpoint drawings that I did served me well: they gave me enough information to create subtle and detailed india ink underdrawings. Now I am confident enough to proceed with my egg tempera.
Bullet dodged.
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