watercolor & silverpoint by Stephen Scott Young

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Silverpoint: "[...]Because the silver will only register on a surface covered with traditional gesso, casein, or gouache, it is impossible to erase the metallic lines. Even trying to cover up stray lines winds up making the prepared surface looked patched. Most of Young's silverpoint drawings were done on sheets of Fabriano Uno paper coated with traditional gesso (a warm mixture of powdered whiting and rabbit-skin glue).
"The artist spent hundreds of hours developing the small drawings (no larger than 14" x 10") by laying down slightly tilted parallel lines in one direction, and then in another direction so as to create diamond or triangular shapes where the hatched lines crossed. In some places he also added stippled dots and horizontal lines to create a rich dark gray. Silverpoint does not allow for the kinds of deep blacks one can achieve with graphite or charcoal.

Watercolor:
 "His palette was limited to Winsor red, Winsor yellow, ultramarine blue, and white casein paint, which differs from the one he uses to paint the black citizens of the Bahamian island of Eleuthera (where he maintains one of three studios). For those paintings, he uses are painted with French ultramarine, burnt sienna, yellow ochre, brown madder, and white casein paint.

"His watercolor technique, which frequently makes use of drybrush, is self-taught, and based on his admiration for artists like Winslow Homer, Andrew Wyeth, and Thomas Eakins.

watercolor limited palettes:
1)
Winsor red,
Winsor yellow,
ultramarine blue,
and white casein
2)
French ultramarine,
burnt sienna,
yellow ochre,
brown madder,
and white casein