By blue mitchell

6 February 2008

I'm asked quite often about the transfer process I use so here's a step by step method:

There are many methods used to create acrylic lifts, but this process is the most successful for my imagery. I reverse my images in Photoshop and print them with Epson K3 inks on Ultra Premium Presentation paper. This process can also be used for to transfer other inkjet, magazine and toner images.

Supply List

Inkjet print (printed in reverse - mirrored)

Acrylic matte medium gel

Wide foam brushes

Gesso (optional)

Baltic birch plywood used for painting or printmaking

Kitchen sponges

Clamp or press system

Two pieces of plywood or MDF

UV gloss finish varnish

Wide paint brush

Rolling pin or burnishing tools

Warm water

Step One

1. Using a foam brush, coat a thin layer of acrylic medium on the mirrored printed image (inked side); cover the image surface entirely. Let dry. Recoat the image but in the opposite direction of the previous coat. This creates a crisscross weave that strengthens the gel's surface.

2. Repeat 8-12 times and let dry

3. In between coats, apply a thin layer of gesso onto the birch plywood. Use just enough so that you can still see the wood grain.*

4. Once the gesso and gel have dried, re-coat both surfaces once more with the acrylic gel. Flip and sandwich the image over onto the birch panel while the gel is still wet. (Inked side of paper adhered to front of prepared panel)

5. Burnish with the rolling pin or tools to flatten and adhere the paper and birch panel together.

6. Clamp or press the panel between the two pieces of plywood or MDF. Make sure the plywood overlaps the image. Let dry overnight.

Step Two

1. Unclamp.

2. With warm water and a sponge, moisten the surface of the upside-down paper.

3. Rub the paper in a circular motion with the sponge so the paper begins to ball up and deteriorate. Eventually the image will begin to show through. Be careful not to rub too hard or the gel with split or buckle -- unless this is your desired effect. You can also use your figures to peel up the paper residue for a more controlled rub. However, be aware that your finger may become raw.

4. Once the majority of the paper has been removed, rinse off and let dry. You should be able to make out your imagery in the wet state but it may look foggy. For faster drying, place the panel in front of a space heater or use a blow dryer. When the panel is dry, you may want to remove more of the paper as it seems to reappear after it dries.

5. Repeat steps 3 and 4 to achieve your desired results. Small bits of the paper can be left for atmospheric effects or you can remove all the paper. Dry.

6. Once the panel is completely finished and dried, apply a few coats of the UV varnish. This will protect the image from light and add a final gloss to the image. This will bring out the blacks and saturate the image. The final image slightly reveals the wood grain or gesso white -- mostly in the highlights of the image.

*Optional: Personal preference dictates how the final image will look. If you add gesso, the highlight in your image will be more white and less wood color. I sometimes fully coat to white and sometimes do not gesso at all depending on the imagery.

Try transferring to canvas, watercolor paper, glass or even three dimensional objects!

Cheers.

(P.S. If you need to speed up the drying process use a hair dryer or space heater)

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