Golden Digital Grounds turn just about any relatively flat surface into an ink-jet printable surface, providing the control and freedom to create textures and surfaces at whatever scale and shape desired.

While almost any porous surface that is flat enough can be run through an ink-jet printer, including off-the-shelf papers made for printmaking and watercolor, results are usually less than satisfactory with the resulting image dull, faint or blurry. For the most part this is caused by the substrate being overly absorbent, with no way to encapsulate or prevent the ink from spreading outward or penetrating too far into the surface.

Conversely, on non-porous materials like acetate, plastic and metal, the inks readily pool up, run, and are easily smeared by both the printer mechanism and subsequent handling. In order to combat these problems and achieve the desired richness of color and detail, each droplet of ink somehow needs to be kept distinct and held in place by the substrate.

This is perhaps the major function and benefit of applying an ink-jet receptive coating. Golden’s three Digital Grounds not only have the potential to extend the languages of printmaking, photography and painting in significant ways, but they liberate digital imagery from the flatland prison of pre-coated papers and canvases.

Three Types of Digital Grounds:
Digital Ground White (Matte) – A semi-opaque white ground suitable for printing onto a large variety of porous and non-porous surfaces. The smooth and absorbent surface allows printing inks to dry rapidly, making it an ideal choice for all ink-jet printers, including desktop models that have ejection rollers or ‘pizza wheels’ that come into contact with the printed surface. Digital Ground White (Matte) is an ideal starting product for artists exploring digital printing.

Digital Ground Clear (Gloss) – A clear gloss ground for use on most porous surfaces where clarity is required to view underlying materials. Like most clear ink-jet receptive coatings, prints done on this ground will dry more slowly, which can cause tracking problems for desktop printers that have ejection rollers or ‘pizza wheels’.

Digital Ground for Non Porous Surfaces – A clear gloss ground for coating non-porous surfaces, such as plastic and metal, when clarity is desired. Like most clear ink-jet receptive coatings, prints done on this ground will dry much more slowly, which can cause tracking problems for desktop printers that have ejection rollers or ‘pizza wheels’.

Ink Jet Printers
When working with any of the new Digital Grounds damage to your printer is a possibility, especially as one begins to explore or push boundaries. Because of that, use of older, less valuable printers can sometimes be a good way to initially experiment and learn about these products. If using a higher-end printer, or one still under warranty, realize that modifying your printer in any way, or using materials not approved by the manufacturer, will usually void that coverage.

In general, wide format printers, 24” or more in width, should have few difficulties with most of the techniques and substrates the Digital Grounds can be used with. When using standard home desktop and photo printers, use care if planning to work with thicker materials and textures that can jam the printer, or non-absorbent substrates where inks are inherently slower drying. Regardless of which type of ink-jet printer you use, always consult your printer’s documentation to be familiar with its specifications and possible adjustments. The following three items, in particular, need to be considered prior to printing:

Pizza Wheels / Ejection Rollers – In most desktop printers one can usually find rollers or ‘pizza wheels’ that come into contact with the surface of the print as it is being ejected. If the ink is still wet, these mechanisms can sometimes cause the image to smear or tracks to be seen running across the print. While the wheels can be fairly easily removed, and many sites on the Internet will provide instructions for doing so, this will also void any warranty one might have. The Digital Ground White (Matte)dries almost instantly, so the tracking of ink is rarely, if ever, a problem with this product.

Paper Paths
Take a close look at the printer you plan to experiment with and observe the path that the paper takes when feeding through the printer during an image or document print.

With some printers the paper tray is in the front which means the paper must follow a U shaped path as it prints, feeding from the tray, curving at the back, and then ejecting out the front. This is the least desirable paper path and will limit what materials can be printed.

Other printers have paper trays that feed from the back of the printer and follow an L shaped path, feeding from the tray, bending as it enters the print area and then coming straight out the front. This paper path will support substrates that are flexible and paper thin, such as some specialty papers and thin paint skins.

The optimum paper path is a straight through path. Printers with a straight pass through either feed from the back and come straight through to the front, or feed in from the front and automatically position the substrate at the back to print through to the front. Most of the time, in order to work with custom substrates, you will need this type of straight through paper path. Printers with this type of path commonly recommend using it for printing envelopes and other thicker media.

Head Height
Head height refers to the clearance between the print head and the paper, which in turn limits how thick one’s substrate, can be. Unfortunately, in most desktop printers there is little one can do to adjust this; if one finds they can, however, then setting it on the highest clearance is usually best. In any case, it is important to know what the maximum clearance is to avoid causing a jam or damage to the print head when working with thicker materials. This information is usually contained in the printer’s documentation or spec sheet, or consult the manufacturer.

Ink Systems
Golden Digital Grounds can be used with both dye and pigment-based inks. Due to the constant changes in ink technology, however, one should always test applications to make sure the ink system being used is compatible.

Substrates
The types of substrates that can be used are nearly limitless. The main factors to note are the substrate’s absorbency, thickness, fragility, and its size and shape. Each of these can affect its performance and impact which ground will perform best. Below we discuss three principle groups of materials, providing very general guidelines.

Porous/Absorbent
This group encompasses a wide selection that includes watercolor, printmaking, Japanese rice and other specialty papers, as well as canvas, various fabrics, and even unusual items like wallpaper, leather, or unsealed wood veneer. Either Digital Ground (Clear) or the Digital Ground White (Matte) are good choices. Depending on the absorbency and techniques being used, a minimum of two coats of a Digital Ground is recommended. In addition, some of these materials can occasionally benefit from being initially sealed with a clear acrylic medium, like Golden GAC 100, or an acrylic ground such as Golden Gesso.

Non-Porous/Non-Absorbent
This would include such materials as aluminum, copper, metal foil, marble, and plastics such as MylarÒ, LexanÒ, PlexiglasÒ, and acetate. Here the Digital Ground for Non-Porous Surfaces or Digital Ground White (Matte) can be used. Surfaces must be thoroughly cleaned and free of oils. Metal should be degreased with isopropyl alcohol or acetone. Usually a minimum of two coats of the Digital Ground will give the best results.

Acrylic Skins and Painted Surfaces
Almost any surface painted or created with acrylic paints, gels, pastes, or mediums, can be printed on by first coating them with one of the three Digital Grounds. This includes ‘skins’ or free films of acrylic material that can then be coated, printed, then layered, collaged or further developed for incorporation in other pieces. For a clear coating, either the Digital Ground Clear (Gloss) or Digital Ground for Non-porous Surfaces can be used, with a minimum of two coats usually producing the best results. The Digital Ground White (Matte) is useful when wanting an opaque, white layer to print on top of.

Product Application
For optimal printing, Golden Digital Grounds should always be mixed prior to use, as the ingredients will separate during storage. Gently rock the container back and forth for one minute to assure proper mixing.

Substrate Concerns
It is important to know how the substrate will react to water-based products. Absorbent surfaces like paper and canvas can easily swell, buckle or become distorted when wet. Taping material to a sturdy backing-board or inflexible surface during product application can minimize this. If taping is not an option, applying the Digital Ground to the entire surface, including the edges, can help minimize curling. Once sheet can be handled without dripping, hang by one corner until dry. Afterwards, if needed, press flat overnight under a weighted board.

If the substrate is extremely absorbent, applying an initial coat of an acrylic medium or acrylic ground can help seal the surface and allow for a more even application of the Golden Digital Grounds with fewer layers.

Application Instructions
Product is ready to apply. If desired, can be thinned with up to10% water.

Using a foam brush, or foam roller, apply even coats of the Digital Grounds to the substrate. Other types of brushes or rollers may be used but test for your application as these might create a less even and more textured surface. Apply product quickly to allow the film sufficient time to level. Allow each layer to dry thoroughly before recoating. Two or more coats, applied in opposite directions, will typically provide the most uniform coating and best results.

Please note: Because the Digital Ground Clear (Gloss) and the Digital Ground for Non-Porous Surfaces are water-sensitive, additional coats can exhibit excessive brush drag during the application, especially if the initial coat has not dried sufficiently.

Allow 8-12 hours after applying the last coat before printing.

We carry a large number of Golden gels, pastes, grounds, and mediums.  Click here to see them.