‘SUBJECT TO CHANGE’, the Drawing exhibition at LIMBO Arts in Margate, has just come to an end. It gave me the chance to show my most recent work, to discuss the work and to look forward to my small solo show, at Millennium St Ives, in the autumn. Thank you to Daniella Turbin, Selina Bonelli and LIMBO for having my work in the show.  Here is another one of the four silverpoint drawings I had in the show.  I’ve posted a video of it on youtube and on my ‘Roy Eastland’ facebook page.


5 thoughts on “Drawing”

  1. hi Roy,
    I came upon your very fine work while trolling the internet for images to inspire attendees of a life drawing marathon. This is a yearly event that I host in my studio – equal parts social connection and hard work with good coffee and cakes thrown in to the mix.
    Your work is stunning – an excellent example of the infinite variety of expression that skilled artists find using the human figure.
    Here is my blog address: http://sharroncampbellart.com/
    Cheers, Sharron

  2. Hi Roy,

    Beautiful drawings! I love the silverpoints of your mother . . . very sensitive. And the Tontine Street drawings are very, very powerful. Wish I could see them in person, but unfortunately, I’m in Virginia.

    A couple of questions about your silverpoints: How do you lay them out for accuracy since erasing is not an option? It’s also hard to tell by the photos, but how much tinting, if any, do you do to your ground? And lastly, how do you get the tiny scratches in the drawing? It would seem to me you would have to use a blade or stylus, but wouldn’t the ground pick up the metal and leave a line like the silver?

    Thanks, Roy.

    Gary Brookins



    1. Thank you.

      Some how I missed you comment so I’m sorry for this late response.

      I don’t really have a settled technique when it comes to drawing with silverpoint. I tend to use materials that allow me to repeatedly re-work my drawings (the layering and re-working are processes which have some similarities to the ways we might experience the act of remembering and I like that appeals to me). My drawings are more like traces of drawings rather than images which are designed with an end-point already in mind. The thickness of the layers of gesson (rabbit sin glue, whiting and Zinc White on board) allow me to scratch and sand into the drawings. I’ve used sandpaper, scalpel blades and etching needles to draw into the surfaces as well as on to the surfaces.

      I hope that helps.

      1. Thanks so much for your response. Much appreciated. And a very interesting approach to the process. It certainly works for you, as these are remarkable drawings.

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