Silverpoint Drawing Complete
Frequently Asked Questions

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A Very Short Note on Materials Response:

 

Hypothesis: There is a strong relationship between metallic elemental silver and zinc oxide. The marks made on paper prepared with zinc oxide readily attest to this. Some have posited that the strength of these marks cannot be soley attributed to abrasiveness, as other non-metallic preparations can be just as abrasive, if not more so, than finely-powdered zinc oxide.

Clues to this relationship may be found in the physics of the materails. Silver-zinc batteries are now in development to replace lithium-ion batteries, suggesting the electrons freely pass between the two materials. Now, I'm not a scientist or an engineer, but it occurs to me that if these materails are so "friendly," and we see marks made with silver upon zinc oxide-treated paper that are much darker than marks made on papers coated with equally-abrasive but non-metal based formulations, silver-zinc electron transfer is contributing something to the effect..Maybe the elctrons serve to "introduce" the two, then encourage a kind of physical bonding, which then attracts more material.

I could be wrong here. But then again, I may be on to something. If you know anybody who has worked on this, let me know...

And now, on to the Questions:

 

How long does it take for the drawing to achieve the patina, or color change?

 

First, opinions vary on what's occuring to cause the change. Some authoritive sources call it "oxidation;" others state that it is more an effect of atmospheric sulfur. I know that works framed behind glass can take years to begin to change. I also know that several works I stored in a basement for three months changed considerably during that brief time. There was a noticeable aroma of sewer gas, so perhaps there's a connection - and, I must add, it was pretty humid, so atmospheric water vapor might also be a contributing factor. I haven't been able to duplicate the conditions in my studio, but if I do I'll post it here.

I'm afraid the answer is, "It depends." I tend to go with the sulfur theory, so if you live, say, downwind of a pulp mill with a bad stack scrubber, maybe your drawing will acquire the patina in as little as a day. Also, depth of the silver deposited on the surface makes a difference; light shading and blends will change rapidly, giving a most unusual quality to the drawing, and a sure way for a connoiseur to tell at a glance that the item is a silverpoint. I have seen changes in drawings I've vigorously blended after only a day. As they say in the NewsGroups, YMMV (your mileage may vary.)

 

Which paper do you recommend?

A 70 to 90-lb smooth plate premium drawing paper seems to work best, for my purposes anyway - I use Strathmore 500 Series 2-ply drawing paper. Good results can be obtained from any quality high rag content paper. Wood-pulp based papers have a tendency to tear, but if you treat them gently and don't rub them at all (wiping makes little paper-pulp raisons) they should be fine. Watercolor papers tend to swell a bit, making the line from the traditional point somewhat soft-edged - which can actually be quite pleasing.

 

Should I wash out my brush between coats?

Yes. Definitely. As quickly as possible.

 

I tried scanning my finished drawing, but whole sections came out blank. What's the best way to digitize silverpoints?

The Best Way is to use a digital Single Lens Reflex camera, of six megapixels or above. Disable the flash, select the highest resolution, watch for reflections, use the white spot meter for correct exposure or bracket heavily, and adjust for correct printing or display, varying brightness and contrast in photo editing software until it's accurate.

 

Metalpoint drawings can't be scanned very well, and they're also devilish to photograph. The dark marks in your drawing are actually silver metal deposited on the surface. It remains highly reflective even when dark or patinaed - which you can readily see if you hold the drawing so that it reflects light from a window or lamp. Those sections are blank because the scanner's light was reflected back, just like a mirror would do.

Another way to digitize your work would be to photograph it using a fine-grain slide film. You can shoot during mid morning or mid afternoon sunlight, but better results are obtained when the light is slightly diffused (as in light of an overcast or foggy day) or with north light, not in direct sun. If you're shooting in direct sunlight, position the work so that the sunlight comes in at a slight angle, and position your camera straight on to the drawing. Watch out for bright objects behind you being reflected from the silver. Use an incident light meter and shoot at the indicated exposure, or set your automatic exposure on a grey card or the surrounding landscape, then shoot the drawing using that setting. "Bracket" this exposure half a stop and one stop in either direction from indicated (giving you a total of five exposures per drawing), and you'll be assured of getting at least one which will be usable. In addition, Aaron Board suggests the use of polarizing filters to remove unwanted reflections. When your slides have been processed, scan the best ones with a slide scanner; some copy centers have slide scanners available for such work. Fine art printers certainly do, and are experienced in color matching and value/contrast settings; take the original in along with the slide so they can do their magic with a solid reference.

The Third best way would be as above, but use color print film and then scan the best prints. It might help if you instruct the film processor to assume absolutely correct exposure and print each frame with no adjustments. Keep in mind that "1-Hour" places can only make limited changes to their automated systems, and the person you talk to may not be the person making the prints. Also keep in mind the target group for such services; they're used to family snapshots, not fine art reproductions, and typically adjust for proper skin tones.

 

How many coats of ground should I use?

One coat of my formula will work, in that the surface is capable of showing a mark made by a metal point.

I find that four coats provide a smooth, even, deep coating which allows the greatest lattitude of marks, from deep darks to light blended tones. I suggest you experiment with several small pieces of paper, with one, two, three, or more coats, try them out and see which one best suits your drawing style.

 

 

What's the best way to tone a ground (Supersedes previous editions, questions below anyway)

Some clients report exellent results with liquid pigment, I believe Createx is the brand. Keep in mind that any additions to the ground will modify the formula and its properties; be moderate.

Is there anything that the ground won't stick to?

It comes off of teflon-coated surfaces without too much effort.

Gentle scrubbing with a ScotchBrite® pad removes it from chrome and porcelain stove tops. More effort is required for vinyl flooring, countertops and finished wood. It bonds like crazy to unfinished wood, permeating and penetrating softwoods.

If it's completely cured, considerable effort may be required for stainless steel sinks; use a steel-ribbon scouring pad.

Warning: don't use abrasive powders, steel wool or steel ribbon scourers on porcelain stove tops or on plastic laminate (i.e., Formica) counters.

Silverpoint Web gets Mail! (Additions to the FAQs):

Re Ground Thickening

James, >
First of all, let me say that the surface your ground provides is the best I >have come across so far. I applied it to several different kinds of paper >last night to see which I liked best. My best results actually came from >some Bienfang smooth surface bristol that comes in a pad. I taped it down >dry to my counter top and applied 3 coats. The paper dried as flat as any >of the papers I pre-stretched-with a lot less hassle (14X17 size). One >question however...I wasn't paying attention and left the lid off while the >ground was in the hot water and it thickened up quite a bit....can I add >water to thin it back down without messing anything up? And, once I have >heated it.....then let it cool and put in the fridge for a few days, can I >reheat and coat some more paper later without any problems? Last question, >have you ever thought about selling paper already treated? I would be >interested in acquiring paper already treated with the ground. >Thanks, >BDM

 

Dear BDM, You can add water to replace that which has been lost due to evaporation, but I'll add one caution: Frequently, when it thickens, you'll also get little bits of ground which have hardened on the sides of the vessel and are not redispersed. When these globs or flakes end up on your surface, you will have some choice words!

Depending on how severe the condition is, I either sand carefully between coats (#400 Garnet) or pour the ground through screening. Doubled-up plastic window screen material works okay, a baker's "sieve" works okay, but the best results I have obtained were from very lightweight see-through polyester obtained from a fabric store. The ground does not pass easily through the cloth, you have to use a spoon or spatula to work the ground through, gently.

Storing in the fridge between sessions is fine. Be advised that with repeated heatings you may get the aforementioned globs, plus a gradual weakening of the bond provided by the glue. Fewer is better. If you know beforehand that you'll have multiple sessions, keep the temperature low in each session - around 120 degrees F, or just after the ground liquifies completely.

I am investigating ways to make ground-coated paper effectively and cheaply, as others have expressed interest. Applying it by hand with a brush is out of the question, as I doubt people would pay me for my time! Air-gun spraying does not work well, the surface is objectionable and there is little bonding between coats. I plan to try high-pressure airless spraying, at some point. I'll keep you posted. Hope this helps, ====>James

 

 

Accolade!

> Hi James,   The prepared test panel arrived and, in the words of my 21 year old daughter, Sweeet!  I won't have time to really draw on it until sometime this winter (I am struggling to make a deadline for a tempera show in Santa Fe) but I can't wait.  I did a small area of tone on the bottom and it was a joy to work on.   You have us so jazzed about silverpoint that we are going to add a demo/mini workshop on our next Italy workshop.  We will probably be ordering 20 styli from you later in the spring so we can give one to each of our participants.   If you plan to be out east in the future, let me know way ahead of time and, perhaps J. P. and I can arrange to have you do a small workshop at the Art School.  We can arrange an honorarium but probably would not have travel money........so, if you're out this way and can link it up with another trip.... I have 3 students working Silverpoint now and I am spreading the word about you and your site.

>Thanks again, F. W.

You're welcome! I've heard from J.P., and he seems delighted with his materials as well. ====>James

Re Board Vs Paper >

I have a big question.........I don't watercolor. >Therefore I do not have any watercolor paper. So, do I need a board, >watercolor paper and tape to do this right? If so, please recommend the >paper in thickness and brand, etc. >I do oil paint on 1/4" masonite that has had 6 coats of gesso and sanded >with #400 sand paper. Can I just spread your prepared grounds on gessoed >masonite? I also do not have stretchers for canvas. > >R. S.

 

Dear R. S., Take a look at the website, in the Support and Surface Preparation section, for discussion of surfaces and paper prep details. You can use just about any kind of good-quality paper; I use 2-ply Strathmore bristol, in the 500-series (100% Rag). Watercolor paper will work, but thicker watercolor papers are too "spongey" for my taste. 90-lb is about as thick as I would use.

You can use Masonite. Wipe it down with a good degreaser (I use acetone or lacquer thinner) then rinse with water - but don't scrub the surface too much or allow the solvents to stand on it too long or it will swell the fibers and roughen the surface. Gentle sanding with fine sandpaper may help. Apply three to four coats of ground, to paper or board.

If you've never stretched paper, don't worry - you just either tape it or clamp it down to a surface while it's wet, and let it dry. It stretches itself, as the paper contracts when it dries. Apply the ground quickly but smoothly, and let it dry again, then repeat. Warning: a full-size sheet of 4-ply bristol "board" or "plate" will contract so much it can bend a piece of 3/8" plywood! Smaller pieces are less problematic. Small pieces can be taped down with masking tape, larger pieces require gummed tapes like kraft shipping tape, which is getting harder to find, for some reason. I don't like what the gummed kraft paper tape does to my edges, so I use those little binder clips, and just run them all along the sides of a board cut a little smaller than the paper, and wrap the paper over the edge - the clip clamps the paper on both sides of the board. Then I use wide masking tape to give a good clean edge and to cover up the clips so they don't get bonded to the paper by the ground.

I've never tried the ground over gesso, and I suspect it depends on the gesso. If it's acrylic gesso, I believe it would not work that well, but I could be wrong; you can try it and let me know, then I'll tell the rest of the world to avoid it! (Or go ahead, as the case may be.) Good luck! ====>James

 

 

Re Board & Paper - again >      

I'm interested in the art of silverpoint and I'm ready to order some material from you but I have a few questions that I'd like to ask first. I read all the info on your website and I hope I don't ask something that you've already addressed. I despise the task of stretching paper so I mainly stick to 300 lb. watercolor paper when doing watercolor and I use Brisol paper/board for pen and ink work.My questions are - first, how do I treat Bristol board when preparing with your ground coat( do I need to stretch it?) I think I read on your website about this but I never could find it again. Is there a prefered Bristol (such as 4ply).  Second, I think I would prefer to use Masonite for my silverpoint work( it seems ,to me, this would be the best route for me) . What are the instructions for preparing Masonite and can home supply Masonite be used? I know there are tempered and untempered kinds.  I appreciate your help and I am looking forward to working with this new-found medium. I look forward to your response. > > R. M.

Dear R. M., I use two-ply bristol, and I do stretch it. The heavier the paper is, the more it will need stretching. For watercolor, you might be able to get by with just taping it down - or not, I seem to recall that working wet-into-wet on 300-lb cold press was usually okay. But the silverpoint ground is glue-based, and it contracts when it dries.

You can use the ground on masonite. I recommend untempered, and that you wipe it down with a water-miscible solvent to get rid of surface oils and/or other contaminants. I use acetone, but acetone is a somewhat-dangerous substance - one should wear gloves, and do the task outdoors for the fresh air. Then I use water to rinse it. Work quickly, and not too abrasively, so you don't raise the fibres in the board.

Smaller panels won't require much beyond this. Large panels should be "cradled", that is, affixed to a cross-braced framework to prevent warping. I've gotten around this by using half-inch birch plywood sealed with shellac, instead of masonite.. Hope this info helps. ====>James

 

 

Re Board Bonding permanence >

Love your site, will soon be ordering your supplies. What kind of plywood or masonite can I use, can it be a finish-grade high quality plywood of the smoothest surface? Or is that a waste of money? Masonite comes in different thicknesses. Which one? And the big question...when it's all over and done, how do you un-bond the paper from the wood surface, do you merely peel it off carefully? Do tell. And the biggie question: Do you have a produced VIDEO I can purchase? Now THAT would be a real bonus! >D. B. , Indiana

D.B., Thanks for your interest and your note. I'll do my best to answer your questions. I use half-inch BIRCH plywood, the highest quality I can find. I use clear shellac to seal the wood before bonding the paper with rabbit skin glue. The bonding process isn't really reversible, so I allow two inches on each side of the paper for matting and framing. I admit the bonded product is evidence of obsesiveness, or something close to it. Thicker Masonite is better than thinner, due to the fact that it wants to turn into a taco shell. Thinner panels can be used if they're CRADLED: (===> make a stiffening subframe of strips of wood and attach the panel to it.)

Folks just starting out with silverpoint should perhaps stick to stretched paper. I use 2-ply Strathmore 500-series (100% rag) bristol, the one with a slight tooth, not the Plate Finish. The video idea has also occured to me, and will be produced sometime this summer (I hope) when my videographer isn't in high school (my son.) I think it would be an excellent way to SHOW people how I do the entire thing. Feel free to contact me with any other questions you might have. ====>James

 

More on Panel Stretch / Bonding>:

I haveÊa question about Silverpoint that wasn't answered in the FAQ I am inquiring about how to mount paper such as the Bristol 2 ply you suggest using to panel or hard board. In theÊFAQ in another email to some one you stated,Ê"If you wish to use paper, you may wish to mount the paper on a hard support; one client uses dry mounting to accomplish this, I use rabbit skin glue on half-inch birch plywood. Could you please explain for me a bit further how to do the dry mounting technique and also your rabbit skin glue technique, and also does the paper require stretching before mounting? Thanks for your time, BD (no location)

 

Dear BD., About the dry-mount press, I believe it's some kind of vacuum contraption, but I really can't say for sure, I've never seen it. Contact Stacy Brown, through her website via the Contemporary Gallery on Silverpoint Web; she's a most gracious person as well as a disciplined and talented artist, and I'm certain she would gladly entertain your question.

 

To stretch and bond paper to panel, I use 10:1 Rabbit Skin Glue water (by weight, ten parts water to one part glue powder). I start by soaking the paper. I already have a suitable birch panel prepared with three coats of shellac. I mark out on the panel exactly where the paper will go, and I coat that space with the glue.

 

Then I pull the sheet of paper from the soaking bin, lay it onto an angled plywood sheet, and use a brayer to remove excess water, followed by a very light wipe with the big cellulose sponge.

 

I add a fresh coat of glue to the marked-off space reserved for the paper, then transfer the paper to the birch panel. With the heel and edge of my my hand, I gently sweep the bubbles from under the sheet. Hint: it's easier to do this whole thing with the panel at a slight angle, but different people do it different ways. I have trouble aligning wet sheets properly, working flat; I would recommend doing at least this step with the panel almost vertical!

 

I then lay strips of vinyl edge molding (cheap, from Home Depot) along the four outer edges of the paper, overlapping slightly onto the adjacent un-glued shellac surface, then lay a sheet of plywood over that; this sandwich assures a good bond at the edges so that the darned thing doesn't peel up if I get too vigorous. I usually stack these sandwiches three high, in two stacks, since I never go to all this work unless I'm going to stretch and bond at least six panels. Hope this helps - I'll have to add this to the FAQ - Thanks! ====>James

 

Re Erasing >

I have a question about Silverpoint that wasn't answered in the FAQ > >What kind of erasers can you use, and what kind of erasers would have been >used.

The answer to this question isn't in the FAQs, it's on the Drawing Techniques page - the marks cannot be "erased", but you can remove them by removing the ground they are on by using sandpaper. I use a small piece of #400 Garnet sandpaper, rolled up into a tiny tube. Redrawing over the sanded area looks different than the drawing around it. Sometimes, doing a little "touchup" with ground on a small brush helps. Good luck. ====>James

 

 

Re Kitchen Pots? >

James, >I recently asked you some questions concerning silverpoint and I thank you for your response. I am ready to place my order but I have a couple of more questions .I am going to order the ground coat kit . > >Can the kit material be divided, in proper proportions, to make smaller batches if the remainder is kept properly sealed? > >If metal vessels are used to mix the ground , can they be thoroughly cleaned after mixing  i.e. cooking pots (double boiler from kitchen and be used for food afterward)? > >Masonite panels-- What size panels do you consider "large" that need to be "cradled" ? >Thanks for your help, > R. M., > Port Arthur,Texas

Hi, R. M., Well, okay, let's take this one by one, then: 1. If you have a triple-beam balance, you'll get excellent results. Just keep the glue powder sealed away from humid atmospheres. You'd probably do fine with just dividing the glue powder into "halvesies", i.e., roughly equal divisions, but I wouldn't bet my life's savings on each batch being identical. Usually, though, "close" is good enough when it comes to grounds. 2. Kitchen pots? Absolutely! I used my Revere ware before I acquired a set of nesting soup pots used only for my grounds. The Stainless stuff cleans up just fine, though the black plastic handles look like Goodwill castoffs. And there's no danger from ingesting zinc oxide, and probably very little from any residual rabbit skin glue - which, by the way, would be completely neutralized by dish detergent, so don't get any on the brush you use to apply it to your supports! 3. "Large" meaning they need to be cradled would be anything over 8 X 10 inches. I avoid the problem entirely by using half-inch Birch plywood, coated first with shellac.====>James

 

 

Re Alternative to Order Form >

Hello, >My ancient computer will not allow me to access your order form. Would it be acceptable to >send a written request along with my money order for replacement points and stylus? >Thanks very much. >D.P. , Cranston, RI

Sure! Just write out what you want, prices total, plus USPS Priority Mail shipping (Min=$3.85, see the USPS site) and mail that along with cashiers check or money order.. Thanks for your interest! ====>James

 

 

Re Ready Made Paper >

dear Sir. > >would you know of any websites from which i could purchase a prepared surface >(paper with appropriate ground) for silverpoint? i have been to your website >and have looked at the instructions on their preparation, but would rather >purchase a prepared surface so that all i need to do really is draw. i'd >appreciate any information you can provide. thanks. > >-R. N.

The only ready-made surface available today is Karma Cover, a Japanese paper. I only know of one supplier, Central Art Supply in New York City. It cannot be ordered from a website, you have to use their catalog and order form. The surface is very smooth, but the marks left by metal styluses, hardened sterling OR dead-soft fine, are extremely faint. ====>James

 

 

Re: Paper(s) >

I would love to try silverpoint but am not very good at preparing my own grounds, etc. Would you consider selling sheets of pre-grounded paper or can you recommend something that's available at art supply stores that would work to get me started till I get more comfortable with the groung preparation process?   Thanks, and compliments on a really great and informative web site,   -Mike

Mike, The only paper that has any response at all is called "Karma Cover," a Japanese paper, available from New York Central Art Supply. They don't have ordering available from their web site, at least they didn't the last time I was there; and the paper's response is limited at best - the marks are faint and grey, but at least the marks are there. The only way to get more comfortable with preparing paper is to dive in and do it; remember, there's a first time for everything, but then it's over and you're on your way (I remember the first time I fell off a horse! Paper failures are much less painful...)

The easiest way I've found so far is to wrap a sheet of wet paper around the edges of a board cut a few inches smaller than the paper, then use binder clips all along the edge - Super Simple! I'll have pictures up on that technique soon, and an expanded paper stretching section since that's the area that seems to have people intimidated! :-)

Some day I may have paper avilable, but right now, since I prep by hand, I doubt people could afford to pay for my time - "Fifty bucks a sheet? No way!!!" Although, I have supplied a few well-established internationally-known artists with ready-to-use bonded-paper panels for a rediculously high fee, plus exhorbitant insured shipping, as the panels themselves are pretty close to "fine art." — You get the idea... ====>James

 

 

Re Mixed Media >

Good afternoon. I was wondering. Can silverpoint and graphite be effectively mixed? And secondly, when applying silverpoint, is it supposed to bite into the paper or float on the surface? I thank you for your time > >Sincerely, >RTL

Dear RTL, The silver point works the same way as a graphite pencil - it leaves a mark because it leaves a small amount of itself on the surface. The Old Master Formula™ does the material-removal bit better than any other preparation I've experienced, so the mark left by the silver is darker than what you would get with any other ground.

I have seen works in which other media are used in addition to silverpoint. Some are quite striking. And, of course, when it comes to art, anyone can do anything. Whether it "works" or not depends more on how than what ~~If you know what I mean... Hope this helps, ====>James

 

 

Re Paper & Ground >

I am wondering if the ground will crack or otherwise lose it's integrety on >paper that has no rigidity? Also, since the mixture will keep in the >refrigerator only three weeks, how long would it keep in the freezer and >still be good? What diameter are the fine silver and sterling silver stylii? >I. N.

Dear I. N., The ground will not crack or otherwise lose its integrity. As I may have mentioned, I have used the ground on unstretched paper. Once I used it on homemade paper that I did not want to soak; when it got a little curly, I just laid it under some heavy books for a week and it was just fine.

The three week figure is what I tell people because I cannot control how they use the product. Actually, I have kept some in MY refrigerator for three months and it was still okay. But I cannot and will not guarantee that your ground in your refrigerator will last that long!

I would not freeze the ground. Freezing will damage the protein and I cannot guarantee that it will still bond properly.

The hardened sterling point is one millimeter, and is imbedded in a hardwood holder; the dead-soft fine point is two millimeter and is held by a standard mechanical leadholder. I hope this answers your questions. Feel free to ask anything at any time. ====>James

 

 

Re Toned Ground (2) >

>From the illustrations on your site, the ground only appears to be >>white... and I need a colored ground, as I like to add highlights in white >>ink, white chalk or tempera. >> >>What would you recommend in order to achieve this with your ground? Adding >>powdered pigment, or tube color (if so, what: acrylic, gouache, casein or >>something else). Also, what would the best way to apply a colored ground so >>as to obtain a uniform (non-streaky) surface?. >> >>Thanks in advance for your help... and congratulations for your site; I >plan >>to order soon some material from you. >> >>R. S.

Dear R. S., The best way may be some form of liquid pigment, but not watercolor paint or acrylic. You can add powdered pigments also. I recommend that you use a muller or mortar-and-pestle, and mix it into a little water or smaller amount of the ground first, then add it to the a larger portion of ground. Failing to get a good dispersion will cause streaks and/or spotting, from clots of undispersed colored pigment. Best of luck, ====>James

 

 

Re Toned Ground (3) >

I am experimenting with silver point and wondered if it is possible to buy already prepared grounds on paper or panels.  I am using Karma paper (the old Baroque brand) and wondered what the disadvantages of that are if any.  Can I tint this clay paper and with what medium, casein?  gouache?  I appreciate your advice.  Sincerely, J H
|
Dear J. H., I have just acquired a piece of Karma Cover from Susan Schwalb, but I haven't experimented with it yet other than to test its response, which is very limited compared to my Old Master Formula ground. I suspect you could use a very light application of transparent media such as watercolor or ink. If I were to attempt it, I would probably use a sprayer or mister, using clear water first to wet the surface, then a diluted colorant immediately after. My thinking is that contact, with a brush or other applicator, would disturb the coating.

Some folks have been adding colored pigments to the Old Master Formula™ ground. I have not tried this either, as I prefer the slighly off-white of the ground as it comes from the jar. But they tell me that they add the pigment to a small amount of ground and mull or grind it it thouroughly to get complete dispersion, then add it to the remainder.

I am exploring ways to supply prepared paper, as there have been enquiries other than yours. I'll inform you if it works out. Thanks for your interest. ====>James

 

 

Re Dennis Martin; & Surfaces > >

Hi there, >First, I want to congratulate you/thank you for such a >terrific, informative website...I have been >researching metalpoint drawing for several years now, >and everything I've read has been (just like you >mentioned) inaccurate or vague. I've gone through so >many dusty old art books! You mentioned a >contemporary artist whose metalpoint drawings can take >up to a year to complete, and I wondered if you were >talking about Dennis James Martin (I saw a link to >some of his images). Have you ever seen one of his >drawings in person? He definitely took metalpoint to >a new level. When I was in college, he helped me with >my drawings quite a bit--he was a great person, and it >is very upsetting that he passed away not long ago. >I wondered if you'd seen his work in real life, >because his drawings look otherworldly. They seem to >glow, in a way that other metalpoints don't. His >surfaces were FLAWLESS. Perfectly smooth--definitely >not something handmade. Not a board or masonite, >either...I've seen him work on those large drawings in >his studio--at the time, I didn't even think to ask >him about what surface he drew on. Interestingly, he >was able to make very dark marks with Pure Silver, >Gold, & Platinum--much darker than I've ever seen. I >just wondered if you knew anything about this. Also, >your Metalpoint Ground...will that adhere to a surface >on its own, or does it have to be mixed with a binder >like rabbitskin glue? I wonder if you could mix it >with gesso or something? I would just like to find a >way to get a perfect, slick, uniform coating. I >wonder if it could be commercially applied, or even >airbrushed? Also, do you happen to know where to get >pure gold or pure platinum...any idea of the cost? >Thank you very much, >C. S.

Dear C. S., I've seen Dennis Martin's work only in reproduction. It is my understanding that he used gesso, but which one and how it was prepared is unknown. A couple of people have told me about his work, which they've seen in exhibition. I wish I could have been there too!

Aaron Board uses the Sherwin-Williams paint, and preps surfaces with multiple coats. I don't know if he thins it or not, but I do know that he gets a good surface with sanding up to ten coats or so.

The Old Master Formula™ Silverpoint Ground will adhere to any traditional support including paper, cloth, and wood. It contains rabbitskin glue. As mixed, it is a "medium" surface - that is, straight out of the jar, it is NOT super smooth or slick, but has a slight surface texture. I recommend light sanding between coats, plus screening to remove clumps. The ground can be made smoother, but requires mulling to get better dispersion of the pigment.

Airbrushing and spray painting does not work well - the surface is even grainier than with a brush. I am investigating other processes, for many people would prefer to buy prepared surfaces. When I have perfected a mass-application process, I'll let people know.

Try a local custom jeweler for gold and platinum. I can get it, but the minimums are too high and the demand too low for me to stock it. If demand increases, I will provide gold points (Recently added, see the Catalog!). Let me know if you have any further questions. ====>James

 

 

Re History & "lead" >

I have a question about Silverpoint that wasn't answered in the FAQ > >The short version of this question (is it frequently asked?) would be: > >Is Silverpointing a precursor to the pencil? and Is there a "Leadpointing" >that is similar to Silverpointing? > >======== >I much appreciate your rationale in providing this site, and your noting >that much of what is elsewhere is false. > >I am seeking information on the origin of "lead" as a term for >graphite/clay mixtures in pencils. Several sources assert lead was used to >make marks on paper. Following some of the links and/or terms provided >brought me to your site. > >Some sources suggest that the stylus was used to make marks on paper. I >understand a stylus making a mark in wax or clay, of course. > >Your site on Silverpoint is the only one I have found that gives any detail >at all on how metals leave marks on paper, and it is obvious that >substantial preparation is involved. Do you know if this technique was >widely used (by accountants, etc.) or only used by artists? > >I am a chemist and I wish to understand just how Silverpointing >works. What is the function of the "ground" painted on to paper prior to >Silverpointing. > >Does the technique work on a "wet" surface or a "dry" surface? > >Does the technique leave a trail of metal atoms as a result of friction? > >Does the technique leave a trail owing to chemical reaction between the >metal and the "ground"?

The Greek poet Thessalonika notes that Roman soldiers used lead to make marks on a variety of surfaces; sources quoted on the Silverpoint Web site, including the encyclopaedias, agree that metalpoint was the precursor to the modern pencil.

Metalpoint is the "broader term" for silverpoint, goldpoint, copperpoint, and leadpoint. And, yes, lead was used, particularly among the "lesser trades" of carpentry, building, et cetera. Lead would leave a mark on unprepared surfaces including paper, timber and stone, whereas silver, gold et al usually required preparation for surfaces other than stone.

The marks left are a function of metal being physically deposited upon the surface. All preparations were formulated with this result in mind; some were better than others. There is no chemical reaction initially; the metal deposited may undergo change with age (reaction with atmospheric/environmental gases), but that's the extent of any chemistry involved.

Sources I have read state that the stylus was used by scribes, for all kinds of clerical duties; accounting was the most important (and, in truth, being the rationale for a writing system to begin with), followed by contracts and other legal documents.

I have seen silverpoint documents on animal skins in the medieval cathedrals of Europe. The sources suggest that scribes' use was the primary function of the instruments. Since my interest was primarily artistic, I went no further in my research on the origins of the term "lead" and how it became the common label for the marking material.

Early in its use by artists, the drawing was faint and used primarily as an "underdrawing" which would be painted over, or in the use of preparatory sketches of little or no intrinsic value. Later, the drawings, and the act of drawing, would become important in their own right.

The function of the ground is primarly to provide a smooth, even surface which will micro-abrade the point, and to bond to the support (paper, wood, et cetera). Pigmentation is secondary, but, as it turns out, some pigments are excellent micro-abrasives, notably the metallic compounds such as lead sulfate, titanium dioxide and zinc oxide.

The terms to describe the product created by a metalpoint stylus on a prepared surface would be "metalpoint drawing" or "metalpoint document," substituting the metal name if known; thus, a drawing using lead as the material being deposited would be called a "leadpoint drawing," not a "leadpointing." The latter term suggests a building practice, as "pointing" is used in the masonry trade; "leadpointing" may have been a term to descibe what ancient plumbers did to adjoining pipes (I'm guessing).

For further research, I encourage you to consult a reference librarian at a reputable reseach institution; the path would be: the History of Writing and Writing Instruments. Note: If you are unfortunate enough to meet up with a recalcitrant librarian, try again with another, friendlier, more helpful and competent one. Keep trying; there are some good ones, although I am painfully aware that not all college libraries are graced with one. Hope this helps, ====>James >

 

 

Re Canada/International Orders?

Hi James, After asking at various art supply stores around Vancouver, BC, I realized that they did not supply silverpoint, and weren't prepared to try to find me any.   I needed to do it myself - and so, I have found your website. I am very interested in trying silverpoint for drawings that I wish to create. I just wanted to email you first to ensure that your website was current, and  that you are still sending the supplies to individuals who wish to purchase them. If so, then I will gladly send you a moneyorder US  - if and when you email me back - I will let you know what I wish to purchase. Thank you, and I will read your entire website in depth - I congratulate you on putting together a wonderful instructional website! regards,   L. G.

Dear L. G. , Thank you for writing, and for your words of encouragement! The website is active, and materials are prepared and shipped as I get orders - this is an extremely small operation, as I am not an entrepreneur but a practicing artist who wants to see Silverpoint Drawing revitalized.

Today I have updated the Catalog pages and the order form, dropping prices somewhat, so if you've already viewed those pages, you'll want to "Refresh" them the next time you connect so that the most recent version is the one you see.

Orders to Canada are shipped Global Priority Mail*; the shipping rate is $16 US for up to four pounds. I split orders over four pounds into multiple packages, at $16 US each. I'm sorry that this is necessary, there's an international border between us. It's the best pricing I could find for timely shipping. It's possible that longer shipping time would be lower, but I haven't used that yet. Since the preferred kit is dry, the longer time wouldn't be a problem regarding "freshness"; if you want, I will investigate further, but I'll need your shipping address, then I'll talk to the folks at the Post Office.

Many of the professional artists and educators who have purchased materials from me write back to say that they prefer the Traditional point, in that it gives them absolute control and a gradual buildup; others like the Pure Silver Stylus. Take a look at the descriptions and let me know your preference. There is also a "Package Deal" that includes both points with a small discount. Again, thanks for writing. Let me know if you have any questions. ====>James

[*Followup: Surface Shipping is a lower-cost alternative; add a week to the time. Use the International Calculator from the USPS web site to figure actual costs. Your government may require taxes or duties.]

 

 

Re Fine Line, like ink >

Thank you so much for your comprehensive silverpoint web site. I learned so >much about the medium which has attracted me for years now and about which I >could find very little information. > >I have a couple of questions which I would be grateful if you could answer. > >At present I work in pen and ink. My work is extremely fine line and I work >through a magnifying glass. Shading and hatching are not part of my process >and so I am wondering how silverpoint would work for me. At present I work >with the finest quill nib which I reverse for an even finer line. > >Also, perhaps you could recommend what I would need in order to make a trial >run into this medium? Could you supply this? > >Thanks again for such a great site. > >E.S., Indianola, WA >

Dear E.S., Thank you for writing. I have viewed your "bio" website and examined the larger version of the image placed there, in order to best advise you. It is possible that Silverpoint would be suitable to your style, but one wouldn't be absolutely sure until you tried it.

The marks made with silver on prepared paper would not have the darkness of ink; I suspect you know this already, so that may present no obstacle to you. The precision would be there, particularly with the "Traditional" stylus (hardened wire in a hardwood holder.)

The best surface upon which to work would be the Old Master Formula™ ground; I have been assured by my clients that it is the best ground they have ever used. But, as I point out on the website, other materials may be used if one is hesitant to spend a lot of time and effort on surface preparation. Chinese White watercolor pigment may be used to prepare small pieces, or the Sherwin Williams paint. But the surfaces prepped with these will not allow the depth and darkness of line that is possible with the Old Masters Formula™.

If truth be told, Silverpoint is just - well, different. It's somewhat softer, in line quality, than ink; but harder than pencil (graphite). And for it to work well for an artist, the artist has to love it for what it is. I would recommend the ground kit, and maybe the Two Point Package, for the total experience and exploration of the possibilities of Silverpoint. In your case, you might wish to use prepared panel or board rather than paper. If you wish to use paper, you may wish to mount the paper on a hard support; one client uses dry mounting to accomplish this, I use rabbit skin glue on half-inch birch plywood. Take a look at the birch tree I did; my efforts are linked from the Contemporaries section. But also keep in mind that I combined multiple drawing techniques, including shading. Then make a judgement based from what you see on the site and your self-knowledge about your working methods. And keep in mind that the prepared surface must dry thoroughly; depending on local atmospheric conditions, this may take several days.

Can I supply what you need? The answer is Yes; take a look at the catalog page at http://silverpointweb.com/catalog.html Let me know if you have any further questions or wish expansion on any of this. Good luck! ====>James

 

 

Re Photorealism & Line Quality >

Hello! I am extremely interested inyour site and your products. Ive always >just used a rapidograph >in the past to achieve photorealism. Well, I would like to move on. You seem >to have all the right tools. >My thing is this..I dont want to hassle with stretching canvasses or paper. >Can you recommend a good >illustration board or canvas that is properly pre-stretched? I think I can >make sense of the grounds >application. Actually I wish I could get the drawing surfaces pre-coatedAND >pre-stretched.I am >not used to this sort of prep time, you know?Well I trust you can help me. >This is very appealing to me. >I will buy your stuff(the 90 dollar supply) I just need more info on the >drawing surfaces. >Thanks!!! > >M. B.

Hi, M. B., I think we need to define some terms first so I know what you're asking.

"Photorealism", as a phenomenon of the 1970s and 1980s, resulted in works that duplicated photographs, including their flatness, reduced color pallete and contrasts, and were typically a social commentary, sometimes about the banality of material culture. Some artists grouped with the photorealists weren't really photorealists at all, but used photographs as source material for their realist works and so got lumped in. These artists could be described as "classical realists", "modern realists" or "hyper realists" or some other term that differrentiated them from photorealists of the same period but different sensibilty. Some used representational subject matter in a very modernist approach, using, for instance, the human figure in a formal way (see Pearlstein, who does not use photographs at all).

I've used a Rapidograph and other "technical pens," and liked them. I would not describe a drawing done with one as "photorealist". The result always looks like it was done with a technical pen. But, yes, the result was "realistic", or at least representational. In my experience, the beauty of a technical pen is that you can put a very fine dot or line exactly where you want it, assuming you have a steady hand. There's tremendous contrast between the ink and the paper. I've seen some truly beautiful works created from billions of dots - from a distance, they blend optically, creating continuous tones.

Cross-hatching does someting similar. You can approximate these techniques with silverpoint. I wouldn't recommend the dot approach. Cross-hatching is traditional with silverpoint. So, I'd have to say, if you're looking for precision and exactness, silverpoint is a good choice, as those are the attributes traditionally associated with it.

About supports: The harder the support, generally, the more defined the line. If you're looking for a precise, hard-edged line like you would get with a technical pen, a smooth panel with four coats of ground would probably be best. The problem with panels of any kind is that they will want to warp as the ground sets. Thicker panels, or thin ones with a backing framework, will be more able to resist the warping tendency. But what I don't like about thicker panels or ones with backing frameworks is the reduced portability.

Plate Bristol, which has a pretty smooth surface to begin with, might be a good compromise - but you have to stretch it or bond it to a rigid backing at least until the ground has cured. Some people who have purchased materials from SilverPointWeb report that illustration board works well - for them - but they had to bond it to a rigid backing. I have not tried it.

Papers mounted to FomeCore turned rapidly into a taco shell. Masonite with ground applied directly to it doesn't seem to warp appreciably, at least initially, although with time it might, depending on atmospheric conditions.

One of these days I may get around to offering papers with ground already applied. But unless I discover machinery which can do what I now do by hand, it'll be expensive.

Line thickness: the traditional point is about 0.06"-0.04". You can shape it as thinly as you want. Hope this helps.

By the way, I don't take orders by e-mail or telephone, as payment in the form of cashiers check or money order must accompany the order form or equivalent. Credit cards are not an option for me at this time. ====>James Glenn >

Hi Again James. I am sorry for getting picky about things. This will be a new >experience for me as an artist; >I just want to be as sure as possible about the materials to avoid screwups >on my part. I think >I understand now. Apparently this ground hardens to an epoxy/concrete state. >I did not realize >it was that strong of a substance. Anyways... I guess you would call me a >realist. I never thought >about it that much. I have always used a photograph with this rapidograph >work. Mostly portrait >work. Thanks again for the useful information. >M. B.

Dear M. B., The ground surface isn't as hard as concrete or epoxy. It CAN be scraped away, especially if one is particularly aggressive with the points. It can also blister and crack if one applies the ground too thick or sloppy. I recommend three to four thin coats - apply the ground quickly but evenly, then carefully smooth the surface with a wide, fine brush. A good brush is a 2" wide "white sable" watercolor wash brush.

 

 

Re Making Points >

Hi James, thank you for the email and information on setting myself up to try silverpoint. I appreciate the advice. > >I have made enquiries with manufacturing jewelery people and have found two in my neighbourhood who will draw some 2mm pure silver for me. The annealing seemed to throw one a little as he said heating pure silver will not change it's hardness properties. He said he will "pickle" it to remove surface impurities. Does this imply that I should not be using pure silver as opposed to stirling(excuse my ignorance)? > >Do i need to know anything about sharpening/polishing the point? D.B., Australia

Hi, David - See the point making section at http://silverpointweb.com/makepoint.html Round the small-diameter Sterling wire so it has no sharp edges. For the 2-mm rod, I make one end cone-shaped, the other beveled. Make the ends VERY smooth and polished, it gives a better response that way.

According to my metalsmithing sources, fine silver annealed at 800 degrees F will make it "dead soft", reducing the hardness acquired through drawing it down in the drawplate. A metalsmith should know that wire or rod drawn down in a plate "work-hardens" it, and it must be "annealed" before it can be drawn down further (it becomes brittle after about four pulls and will break if not annealed). Annealing and pickling will do the trick, but if he/she doesn't know about this but can provide you with "fine" silver rod of 2-mm diameter, that should be adequate.

As the points are used, they will probably develop sharp edges or points. Round them off again with #400-#600 Wet-or-Dry sandpaper. Again, the glue-based formulas give the best response, but you can also try the Sherwin-Williams paint or gum-based artist whites (gouache and watercolor). I wish international shipping was simpler and more standardized. I apologize for the difficulties! (Later Note: This has been adequately resolved, somewhat.) Let me know if you have further questions. ====>James

 

 

Re Sterling Vs Pure >  

I have   a question about Silverpoint that wasn't answered in the FAQ   Hi.  I was looking through your list of available products, and I was wondering if there is a marked difference between using the sterling versus the "dead-soft pure silver"?   thanks for your advice! >s. t.

Dear S. T., Yes, there IS a "marked difference" - the "dead soft pure silver" point lays down marks thicker and quicker, providing a deeper, darker tone immediately. The Old Master Formula™ Silverpoint Ground is the best surface preparation to demonstrate this (it's what I call an "active" surface), but the dead soft pure silver point works better than Sterling on ANY ground. Let me know if you have more questions. ====>James

 

 

Re Alloys & Colour >

Dear James, > I enjoyed your website very much. Congratulations! > One question from the view of the materials research scientist: Do you have any information how the chemical composition, e.g. some percent of copper or gold, might influence the "properties" of the silver pointer? For example, is it possible to influence the "colour", the abrasiveness, the smooth or the width of the silver pointers? > Any help would be great! > Best regards > Dr. S. M. > Bundesanstalt für Materialforschung und -prüfung > Fachgruppe I.4 "Nuklearanalytik" > Berlin, Germany

Dear Dr. S. M., Different alloys respond to atmospheric sulfur (or other gasses) in different ways; I see a marked difference between the colors as Sterling silver and "fine" silver drawings achieve their patinas. There doesn't seem to be any difference in mark density, except as a function of point hardness. I don't believe there is any chemical action between the point and the ground material, just an abrasive one. It is my belief that the metallic oxides (zinc and titanium) provide an excellent microabrasive surface upon which the metal point deposits its material. In centuries past the same could be said of the lead sulfates. I hope this answers your questions adequately. Please bear in mind that I am not a chemist or materials scientist, but an artist. I would be happy to receive any results, either pro or con, which you may acquire through your research. ====>James

 

 

Re Pigment Chemical Composition >

Is it possible for you >to tell me the composition of the dry pigment? It looks like whiting or >titanium white pigment, and I want to make sure I store it properly (some >pigments are hazardous as dust as you know) and I have ways of storing any >extra in dust proof boxes. > >Thank you again, > >J. P. > >P.S. A colleague and I do summer workshops in Italy and we are going to order a >group of silverpoints from you to take there and work with our group! Thank >you for offering this needed niche of the art supply market.

Dear J. P., The pigment is zinc oxide. Generally, not hazardous in its present form, although during formation it will cause "metal fume fever," like the nastiest case of the flu you've ever had, but it passes and is not a cumulative poison like cadmium or lead. And thanks for the thanks, it was my goal to fill a need. ====>James

 

 

Re Zip Clamps: >  

I have   a question about Silverpoint that wasn't answered in the FAQ  Hi, I'm interested in getting some Zipp clamps for my watercolor board.  Can you point me in the direction of the manufacturer or several outlets that may carry them.  The ones I've seen are like the wooden ones you've shown but they are plastic.  Any help will be greatly appreciated!  Thanking you in advance!   B. L.

Dear B. L., Try Cheap Joes or one of the other mail-order links from my Resources/Links page, that's where I got mine. ====>James

 

 

Re Links

>Hello! > >I'am [deleted],the WebMaster of the links page titled "[deleted]" on http://[deleted]. >I visited your page. Great work, very instructive! >I posted a link to your web site on our links page in the section >"Theory". If feasible, we also appreciate a return >link... >By the way, I'am a painter and rug designer. > > >If you have no interest in joining this links page, simply click reply and mention "no >interest". > >With our best wishes of success on the web, >Sincerely, >[deleted].

Hi, [deleted]. I took a look at your site. Your designs and artwork are beautiful. Unfortunately, I don't provide links for individual commercial sites unless they offer opportunities for artists and craftsmen, either by providing information, resources or opportunites. The only exceptions to this general requirement are the individual links to artist's works which are examples of the medium I'm supporting and encouraging. I appreciate your offer, but I feel I must decline the opportunity to link back to your site.

Your links page, when I finally located it, had some valuable resources which I'm sure others would benefit from seeing. However, the window that opens from that link generates a strictly-commercial popup, a circumstance which I boycott. In addition, there appears to be a considerable amount of content which is inconsistent with the document's "raison d'etre." In short, before I could link to a links page, it would have to be fairly focused, and also readily identifiable from the main page of the site. In addition, my site would be more appropriate under the "Media" heading, rather than "Theory". But I did not see my site in either category. I understand the intent of your offer, and I have no problem with it. Good luck in your attempts. ====>James

 

Last updated: January 2007