Silverpoint

Part of Kirkham Abbey

A Series of Ancient Buildings and Rural Cottages in the North of England: Part of Kirkham Abbey, Prout, 1821
Cleveland Museum of Art

Prout, A Series of Ancient Buildings and Rural Cottages in the North of England: Part of Kirkham Abbey, 1821. softground etching.

The Cleveland Museum of Art · Gift of Mr. and Mrs. Wilbur D. Prescott in memory of Margery Irish

Plate copyLine

Part of Kirkham Abbey

Prout, 1821: a plate copy from an etched line

A Series of Ancient Buildings and Rural Cottages in the North of England: Part of Kirkham Abbey, 1821: softground etching (The Cleveland Museum of Art). A plate copy: the standard protocol for an etched line applied to this one sheet at the size of your book, with Prout's own habits as the checklist. Find a long straight edge in a Prout and notice it is not a single line. Count the breaks.

In pencilAn etched line is a drawn line: the needle through the ground behaves like a hard pencil on smooth paper. Copy the plate as hatching with the hard grades, build tone from the spacing and direction of lines, and cross-hatch only in the darkest third. Do not smudge; an etcher cannot.

Difficulty
Time
about 2.5 h
You draw with
H, HB and 2B graphite
Tone from lineValue by spacingSix families of markLine weightGrouping valuesEye levelOne-point perspectiveMasonry coursing

Why this one

  • The broken line. Lift the pencil mid-stroke and let it wander; suggest two stones per course, not twelve.
  • Figures as rulers. Two or three small figures, heads on the eye level, and the building has a size.
  • A sketchbook habit: pencil first, a light wash of tone, and the courage to leave it unfinished.

From your kit

The whole kit →
  1. 1Grafwood H, HB, 2B H, HB for layout and line; 2B for the darks. Long points from the Blackwing on everything up to B.
  2. 2Kneaded eraser and the Mono Zero press-and-lift corrections only; the Mono Zero for a single sharp light.
  3. 3Alpha sketchbook 9 x 6 draw at the book's size and keep the proportions; date the page.
In general, this study asks for
  • Drawing pad or the sketchbook
  • 2H and H with long points
  • HB and 2B for accents
  • Kneaded eraser
  • Precision eraser

Watch first

All videos →

Timothy Wilcox on the Normandy tours and the Architectural Antiquities etchings. The architectural half of this course, explained by its curator.

YouTube
Giovanni Battista Piranesi etchings: the Views (Vedute di Roma)Busy Baçi · The whole Vedute series paged through. Note how small the figures are and how large Rome becomes.Visions: Regarding PiranesiThe University of Melbourne · A proper talk on how Piranesi built his plates and why they still work.

The plan

5 stages · ~110 min
  1. 1

    Read the plate first

    5 min

    Before any mark, look at Part of Kirkham Abbey for five minutes with the pencil down. Find the eye level or the horizon. Find the lightest light and the darkest dark and notice whether they touch. Count the big shapes: it is rarely more than four. Say what the picture is about in one sentence.

    Checklist0 / 3
  2. 2

    Envelope and masses

    15 min

    Measure the sheet's proportion and draw the envelope lightly at the size you will work. Place the horizon as a fraction of the height. Block the three or four big shapes as pale outlines, checking each against the others with the pencil held at arm's length. No detail yet; if a line is inside a shape, it is too early.

    TipBeginners rush this stage. Masters spend half the drawing here.

    Checklist0 / 3
  3. 3

    Contours as the needle drew them

    35 min

    H and HB, long points. Draw the contours with the etcher's line: thin, continuous where the plate is continuous, broken where it breaks. Notice that an etcher draws edges by stopping the hatching, not by outlining. Where there is no line in the original, there is none in yours.

    Checklist0 / 2
  4. 4

    Tone by spacing and direction

    45 min

    Match the plate's tone system: the lightest passages are the widest-spaced lines, the darkest are the closest. Follow the direction the etcher chose for each plane (roof one way, wall another, water horizontal). Cross-hatch only where the plate does, which is usually the darkest third.

    Squint. Three values. If a passage reads lighter or darker than the plate, adjust spacing, not pressure.

    Checklist0 / 3
  5. 5

    Compare and note

    10 min

    Side by side with the original: where did you add what was not there? Where did you darken what was light? Write one sentence on the sheet about what to change next time. Date it. Box it.

    Checklist0 / 2

What it should look like

  • A drawing built of lines you could count, with no smudged tone anywhere.
  • Darks that are dense hatching, not black fill.
  • The plate's three values, in the plate's places.

Where it goes wrong

  • Soft, smeared tone. You reached for a soft pencil and the side of the lead. Hard grades, points, and spacing. Nothing else.
  • Lines everywhere at the same spacing. The value system was not read before drawing. Map three spacings before you start: wide, medium, close.

Log this session

Start the clock when you pick up the pencil. Stop it when you put it down. Log it. Every session counts toward the box.

00:00of ~150 min

Status

How did it go?

Up nextProut's sketchbook: Norham

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