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Author: Marilyn_Schlueter, Contributing Editor
| First let me say it is my pleasure to offer to all of you a simple way of doing metalpoint. After the Christmas card exchange was made, several members of Artist's Nation (aka WetCanvas) asked if I could provide them information about working in metalpoint, or in my case silverpoint, so I thought it might benefit those interested in this process to see how I work. Ergo, my first attempt at writing publicly. I have my fingers crossed.
Let me begin by stating I am not an expert in metalpoint. My method of working is simple and inexpensive, a basic style that anyone can approach without too much expense. Searching throughout the internet will make available to you, the artist, many styles and information on doing metalpoint. I have included information about a website that supplies materials to the metalpoint artist and has much needed detailed information. |
 | The photo at left shows the basic supplies needed to create metalpoint, including support surfaces. |
 | This close-up photo shows the sterling tip I use for drawing.
I use pure sterling silver wire approximately 16-26 gauge, that fits into a regular plain mechanical pencil which supports the fingers while drawing. In precious metals, the larger the gauge the finer the wire. Other metals used can be copper wire, platinum wire or 24kt gold wire. Each metal creates a different color when oxidized. To ease your concern of expense, a wire that is several inches long will last you years. |
 | In this example, I have used 300 pound acid free rough watercolor paper as a support for several applications of white gouache (pronounced like squash) that is actually just the expensive version of white tempera paint we used in grade schools. The photo also shows the texture of the watercolor paper. The paper texture gives 'tooth' to the support layer so it will adhere better.
You can transfer your drawing by lightly tracing it onto the surface of the gouached/gessoed surface or you can also draw freehand. Next, make sure your hands are clean, as oil or dirt will transfer to the surface you're working on. Use a support under your hand such as a piece of paper to keep your skin off the metalpoint surface. Apply a minimum of three coats. Chinese White Watercolor in a tube can also be used as well as white gesso. Before adding each additional coat, be sure the previous coats of paint/gouache are completely dry. Gesso leaves a much rougher coat to work on. You can sand lightly between the layers of either gouache or gesso if you wish to have an extra smooth surface. This type of application is the least expensive. |
 | I want to point out a few negative aspects of this application. Sadly, if you bend the paper you are working on, it will crack. See photo. Not a particular problem for practicing, but if you should do a detailed complete work that takes you weeks or even months to do, it's better to use a firmer surface such as illustration board or Clayboard. If you do choose to use a heavy watercolor paper, keep it flat while working on it and then mat it carefully so it has support and backing. This can then be framed with glass and should be fine.
Moisture is a problem for this type of application (if you are using a watercolor or gouache base) so don't have your coffee or liquid beverage near your work. Another negative is the fact that you can chip this easily if you gouge your surface. See detail of chips further along in this article. This occurs when you apply too much pressure. There is a domino effect and the chipping will continue, not to mention your fine drawing will have craters in it. Not pretty to look at, but we all learn by trial and error. I'll keep my fingers crossed that you will not use a heavy hand on your drawing only to lose it by bending the support or gouging the surface. This is the voice of experience and regrets, believe me. |
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