Hard and Soft Ground
left of photo: brushing on a hard ground
right: an etched zinc plate and its print
The Future Hard Ground
Since the 90s KEITH HOWARD has promoted a new kind of hard etching ground made from readily available acrylic floor polish. As a consequence, many printmakers in the USA use a product called FUTURE. The European equivalent is called (Johnson Wax) KLEAR or KLAR. These products are based on a special kind of polymer that is more liquid than many other acrylics and can be applied to a plate as a thin even coating that is an ideal ground for crisp and clear-cut line work.
March 2009:
Latest findings from Johnson's Wax MSDS data sheets suggest that the Future varnish currently on the market does not meet nontoxic standards. The product contains 1-5% glycol ether.
I would suggest using suitable substitutes such as Z Acryl Hard Ground Solution or Lascaux Hard Resist for the above method. FK
See ETCHING INGREDIENTS
Before applying the Future hard ground plates should be finely abraded with sandpaper, either by hand or using an electric sander. The fine tooth on the plate then allows the acrylic to bond with the surface without chipping. (Note: highly polished plates may chip.) Keith Howard recommends using a kind of flow coating approach where the emulsion is poured rather than brushed onto the plate. Details of this process are given in his book The Contemporary Printmaker. A good ground may also be laid by brushing on a thin coating with a flat-headed sponge brush.
Rather than using the ground in its clear state, it is best to add some waterbased ink to give it color and opacity (India Ink works quite well for this). By far the best ink to make a perfectly black etching ground is KOH-I-NOOR black ink (3080-4 universal waterproof drawing ink). Keep adding this ink slowly to the Future floor polish until the solution reaches a solid black.
FUTURE + KOH-I-NOOR 3080-4 BLACK INK = HARD GROUND
The
hard ground can now be drawn into using a sharp etching needle or other
"improvised" implements such as a chipboard screw. (Wrap tape around
the shank of the screw to make it into a good drawing tool.)For more on drawing into a hard ground see Section 4 of the INTAGLIO MANUAL
The Orono Soft GroundThe Orono soft ground is a resist development by Friedhard Kiekeben in collaboration with Prof SUSAN GROCE at the University of Maine, Orono, USA in 1997.
It consists of two main components. The first of these is the soft ground binder mix, which is made up from four ingredients (see method below), and can then be stored in sealed containers. The second component is Graphic Chemical waterbased block printing ink, such as Peacock Blue, which ensures good rollability.
rolling up a waterbased soft ground
(Howard/Cross)
(Howard/Cross)
The Orono ground was developed as a more versatile alternative to Keith Howard's original soft ground. Howard's use of unmodified Graphic Chemical waterbased relief ink as a soft ground works well on copper plates, but less perfectly on other metals. The primary benefits of the modified Orono ground lie in its fast drying time, enhanced mordant resistance, variable thickness, and suitability to the entire range of metal salt etching processes. The ingredients of the Orono ground can also be easily adjusted to suit the particular needs of the artist. For example, an increase in the binder content will result in greater mordant resistance, while an increase in the retarder content will extend the working times of the soft ground.
This ground has very good mordant resistance and can be used in the same manner as a traditional wax soft ground, i.e. for transfer drawing as well as for textured impressions. Many printmakers also value it as a roll-on hard ground which accommodates very detailed and wax-like drawing qualities.
Keith Howard, soft ground plate and print
The mixture described here is extremely good at supporting the reproduction of imprinted details on any kind of metal. Tests made at the University of Maine showed superior results in comparison with the conventional wax-based method. Orono ground works well in a thick or thin layer, and responds quickly and accurately to the corroding mordant. Making up the Orono soft ground
The mixing method for the Orono ground is similar to the mixing of printing inks.
MATERIALS
Products and Equipment needed to make up the Orono soft ground:
METHOD
Make up the Orono soft ground as follows:
The Orono ground is made up of five parts:
Refer to Keith Howard's explanation of soft ground drawing and impressions methods, which are also suitable for use with the Orono ground.
Useful Tip: An ink roller used for the Orono ground should be soaked in detergent solution immediately after use to prevent hardening of its delicate surface.
For more information about Hard and Soft Ground click on the following links:
Intaglio Manual Beginners Compendium Etching Ingredients
The mixing method for the Orono ground is similar to the mixing of printing inks.
MATERIALS
Products and Equipment needed to make up the Orono soft ground:
- Graphic Chemical waterbased relief printing ink (e.g. cobalt blue 1600C - other colors may also work)
- Golden Acrylic GAC 200 acrylic medium or Lascaux 2060
- Speedball Transparent Screenprinting base or Rowney System 3 screenprinting medium
- clean mixing slab
- long palette knife
- sand paper/ electric sander
- roller
- metal plate
METHOD
Make up the Orono soft ground as follows:
The Orono ground is made up of five parts:
- Spread out a
good amount (e.g. 3 scoops) of the Graphic Chemical Cobalt Blue 1660C relief printing ink onto a clean mixing slab
- Add 1 scoop of Golden Acrylic GAC 200 acrylic medium (or Lascaux 2060)
- Add 1 scoop of Speedball Transparent Screenprinting base (or Rowney System 3 screenprinting medium)
- Thoroughly work the components into one another using a long palette knife, until a thorough blend has been achieved. The soft ground is now ready for rolling onto a degreased and lightly sanded plate.
- Roll the ground thinly onto the plate using multiple passes
A thinner layer of ground will ensure the registration of
even the finest imprinted detail, but a thicker layer which also has
good detail reproduction, ensures maximum mordant
resistance and is best for a deeper etch.
- For SOFT GROUND: After making impressions, dry the ground (using a drying cabinet or hairdryer). Make sure the ground no longer feels tacky before etching.
- For HARD GROUND: Once dry, the ground also makes an excellent hard ground similiar to a traditional wax ground.
Refer to Keith Howard's explanation of soft ground drawing and impressions methods, which are also suitable for use with the Orono ground.
Useful Tip: An ink roller used for the Orono ground should be soaked in detergent solution immediately after use to prevent hardening of its delicate surface.
Intaglio Manual Beginners Compendium Etching Ingredients