Soft-ground etchings are a more recent technique, dating to the mid-to-late 1700s. As with an etching, a plate and ground is employed, but the wax used in soft-ground etchings is, well, softer, allowing it to be lifted from the plate by pressure from a textured surface or the marks of a writing instrument over a sheet of paper that has been laid upon the ground. The resulting bite of the subsequent acid bath is thus more uneven, suggesting the irregular markings of a crayon.
Lift-ground etchings are a variation on the aquatint. Before a ground is laid down upon the plate, the artist paints or draws his or her desired image onto the plate with a mixture that includes ink and sugar. After the image dries, the plate is coated with a ground, which is eventually bathed in warm water. Because the ground is porous, the water seeps into the ink-and-sugar mixture, which expands, thus exposing the plate. A porous aquatint ground is then use to coat the exposed areas so that when the plate is finally exposed to the acid, the result is a soft, almost watercolor-like effect.


Nimmo Moran Etching 1888
Early Anatomical Engraving (1760)








