A technical dictionary of printmaking, André Béguin.


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White Ground
copied from the MTSU "Printmaking Links Discussion Page"

White ground is a combination of Ivory Snow detergent, linseed oil and water. The exact recipe is in Ruth Leaf's book, Etching, Engraving and other Intaglio printmaking Techniques. The idea is that you can paint the ground on the plate with brushes, sponges, whatever. When the plate is bitten, the ground fails more readily where it is thinner and takes longer to 'fail' where it is thicker. This is called progressive biting...but the advantage is that it is accomplished with one application and the results can be exciting. The recipe is: 1 cup of Titanium white dry pigment 2 cups of Ivory Snow granulated detergent 1/2 cup of raw linseed oil 1 cup of water The process for mixing is: First measure 1 cup of titanium white in the measuring cup and pour the pigment onto the glass or marble slab. Then measure 2 cups of Ivory Snow and pour it on top of the white pigment. Mix these two ingredients together. Now measure 1/2 cup of raw linseed oil. Make a small impression in the center of the mixed dry ingredients, and pour a little linseed oil into the hole. Grind the oil into the dry ingredients with the spatula until you can/t see any more oil. Add the rest of the oil slowly, little by little, and continue to grind until the oil and the dry ingredients are thoroughly mixed into a stiff white paste. Measure 1 cup of water and blend the water little by little into the paste with a spatula. When all of the water has been mixed in, the white ground should have the consistency of whipped cream. USE AND STORAGE Keep white ground in a glass jar with a screw top. White ground cannot be kept in a metal container or the water in the ground will cause the container to rust. Please note that if you keep white ground for a long time, the oil and the pigment will tend to separate and harden - if this happens add a little water and blend it in to give the white ground the proper consistency. Also, before you apply white ground to your plate, you must thin it to the consistency of tempera paint. The above text was copied directly from Ruth Leaf’s book. This is a great reference and I strongly suggest you get it or borrow it from a library if possible. The ISBN number is 0-486-24721-X. I found my copy for $11.95. PS, let the ground dry for about a day before immersion in the acid bath.


copied from MTSU printmaking links discussion page "Ad Stijnman"

White ground is mentioned from the early 17th century onwards. This technique is simple and handy. First, lay a common (golden brown) etching ground on your plate. Do not blacken this ground. Then make a mixture of a white pigment and liquid gum arabic with a drop of oxgall, or use some white poster paint/gouache with a drop of oxgall. Brush the etching ground with the white paint and let dry. Draw with an etching needle. It is especially handy when working on copper, because you will see the copper shining bright red through the white. Zinc is a little more difficult to see. After drawing your design wash the white paint of your plate before etching, it will dissolve immediately. Otherwise it will foul your etching fluid (please! use coppersulphate/Bordeaux Etch to etch your zinc plates, or Edinburgh Etch for copper, do not use nitric, think of your health and others


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