After a long hiatus (at least from here) I’ve got another batch of silverpoint underdrawings to publish. These were created during our recent trip to California – in my new studio there. The new studio is in our garage, so besides the new working-space, I envision that I will have more room there to create larger pieces (who needs cars anyway?). My current working-space here in Belgium measures about 4 x 10 feet but since Euro-compression-design rules the day I have been able to pack many useful features into it. Still. it’s cramped.
When I began this project I knew of course that the silverpoint pencil nib is quite restrictive, so the challenge in these panels is how to render various highly textured, amorphous and abstract shapes with a very fine, low in value line. Mostly impossible. For many of these compositions then, if I were to use just silverpoint, I’d have only very flat uninteresting underdrawings to offer. But since they are executed on a toned ground, the addition of the while highlights (using tubes of titanium white in acrylic) allows for greater manipulations. Washes quickly establish the tonality, texture and gesture – things which are otherwise difficult to achieve in silverpoint alone.
The silverpoint then establishes the basics of the design and hints toward the darker values, while the white moves the image forward. I enlisted the help not only of brushes but also sponges, hands and fingers. And since each panel is about the size of a standard book, I could rotate the panel to get my washes to drip in whatever direction I needed. Nice. That’s really hard to do with a big panel or canvas. 😉
All in all I created fourteen panels during this recent time. They are still resting in their little beds in California, however I was able to take some photographs of them before leaving. I’m hoping to put the whole series together during our next trip, where I will have enough space to throw some paint at the final assemblage. As ever, we’ll see.