A technical dictionary of printmaking, André Béguin.
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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