How to-make-an-image transfer


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How to-make-an-image transfer

  1. 1. how to make an image transfer to fabric, paper, and other photo transfer techniques presented by cloth paper scissors ® 1 2 4 31 transfer master class LESLEY RILEY 3 add pattern to journals with zentangles and transfers2 SANDY STEEN BARTHOLOMEW transfer master class, part II: adding color LESLEY RILEY 4 twice the fun with instant film TIFFANY TESKE
  2. 2. Zentangle™ drawing specialist Sandy Steen Bartholomew gives a tutorial on this fun doodling and art How to Make an Image journaling technique plus shows how to Transfer to Fabric, Paper, incorporate photos, text, and drawings and Other Photo Transfer in your art journals using Sheer Techniques Heaven™ image transfer paper in “Add presented by Pattern to Journals with Zentangles and Cloth Paper Scissors® Transfers.” ONLINE EDITOR Cate Prato Tiffany Teske offers a new twist on an old medium, creating photo emulsion CREATIVE SERVICES DIVISION ART DIRECTOR Larissa Davis transfers from vintage Polaroid cameras i PHOTOGRAPHERS Larry Stein and new film cartridges, in “Twice the Korday Studio mage transfer techniques can Fun with Instant Film.” In this process, Projects and information are for inspiration and be used in just about any form you’re combining your own composed personal use only. Interweave Press LLC is not responsible for any liability arising from errors, of fabric and mixed-media art to photographs with the image transfer omissions, or mistakes contained in this eBook, and create artistic visual imagery. All you process, creating a unique piece of art readers should proceed cautiously, especially with need are the right tools and the know- each time. respect to technical information. how. Interweave Press LLC grants permission to photocopy With this free eBook, How to Make an any patterns published in this issue for personal use In How to Make an Image Transfer to Image Transfer to Fabric, Paper, and only. Fabric, Paper, and other Photo Transfer other Photo Transfer Techniques, you Techniques, a free eBook from Cloth can bring a new level of personalized Paper Scissors Today, you’ll learn how to imagery to your artwork-experimenting create an inkjet transfer, photo transfer, and combining image transfer Where mixed media emulsion transfers, and transparency transfers using gel medium, transfer techniques to make them your own. artists come to play Warmly, paper, caulk, water, and more. In “Transfer Master Class” by Lesley Riley, you get the benefit of Lesley’s years of experimentation refining the process of image transferring Cate Prato techniques, even before she developed Online Editor, TAP™ Transfer Artist Paper. In this two- Cloth Paper Scissors Today part tutorial, she offers advice on how to scan and prepare your image for a digital image transfer, tips on fabric and paper choice, and options for adding color to the image transfers before and after transferring. clothpaperscissors.comFabric, Paper, and Other Photo Transfer Techniques presented by ©Interweave Press LLC 2
  3. 3. transfer Adapted fromimage CLOTH PAPER SCISSORS® Summer 2005 master classm y fascination with image transfers goes back 25 years to when I transferred magazine photos to fabric using various solvents. Thegood news is that those transfers still retain their color after all of these years. where to begin. Toss in the many different printers, inks, papers, and transfer media available, and you can end up totally confused with moreThe fabric is intact, too. The bad news is that I was using toxic solvents and questions than answers.copyrighted photos. From magazine pages, I moved on to color copies. To ensure your success, I will share myOne technique called for ironing a solvent-soaked color copy to the fabric to tried-and-true methods and materialsfacilitate the transfer of the toner inks. (Fortunately I was able to put out the with you. But there are two things you need to know before you begin: 1) notsmall fire before it spread from the ironing board—and before my husband every transfer will turn out the way youfound out.) Not only were there dangers and health hazards to these methods, want it to; and 2) like any technique, thebut the transfers didn’t always turn out very well either. I was wasting time and more you practice, the better you will be. With that said, it is also importantmoney at the local copy shop with nothing to show for it. that you be open-minded whether your safer and easier to transfer. Inkjet transfers are good or bad. If you wantFortunately for artists, technological printers have turned my transferring perfection, forget transfers and printadvances have made it possible for us experience from frustrating to fun. the image directly on paper or scan, copy, and print photos in thecomfort of our homes. Images printed But I do know that for many, inkjeton personal inkjet printers are much Above, from left: Transparency transfer onto transferring can still be frustrating. book page with Soft Gel Medium; transparency There are so many ways to transfer transfer onto fabric (Epson); transparency BY Lesley Riley images that it can be hard to know transfer onto rust printed fabric (HP printer).Fabric, Paper, and Other Photo Transfer Techniques presented by ©Interweave Press LLC 3
  4. 4. The beauty of transfers lies in their Photoshop, Paint Shop, or software that tipsimperfection. comes with your digital camera, you can You want to use a smooth-surface adjust the contrast, the color saturation,In URGENT 2ND CLASS, author and artist fabric. Any bumps or ridges will break and the brightness of each photo. ANick Bantock says, “There is something up the transferred image as the ink freeware program, Irfanview, is availabletoo complete about most photos…They will hit the high spots of the fabric online and performs many of the sameneed a dose of controlled eccentricity but not the low spots. functions as Photoshop.that will alter and personalize them…The picture surface needs to be broken Patterned fabrics and papers can be I almost always adjust the color andup to give it breathing space.” The way I used. The pattern will show through contrast of my images. Vintage photossee it, as long as my focal point transfers the transfer; place your image wisely fade with age. Scanners can wash outwell, then I have a successful transfer. All so it won’t interfere with the details of color. The color in your own digitalof the other lost parts of the picture are the image. photos can be “off.” Since the transferwhat makes it art. Each transfer process Some papers will come apart when process itself usually darkens thehas a different look to it. Some may be you try to transfer with acrylic media, original colors of the image, I usuallyeasier for you to do than others. Try sticking to the transparency or photo increase the brightness and saturation ofthem all if you can and see which one paper when you lift it up. Practice on the fall in love with. watercolor paper to get the technique Color and contrast adjustments can also down before you experiment with be made from the Print menu, before other papers. you actually click OK to print. When the Print box opens after you click on Print, M AT E R I A L S getting you will see a box called Setup. Click to open this box and choose Properties. Copyright free photos, drawings, or started Depending on your printer model, there will be a tab or box labeled Color or your own pictures For all methods, you will need to get Advanced. Clicking on these boxes will Inkjet printer your photos into your computer. The enable you to access areas where you can Scanner easiest way is to scan them. I like to make adjustments. Golden acrylic medium, matte or scan all of my images in at 300 dpi fluid matte for fabric only; soft gel for (dots per inch). That way, if I want to Once your photos are adjusted, create a fabric and/or paper (most versatile); enlarge the image I will not lose any full page of images for printing. While regular gel medium for copy paper you are learning, it’s a good idea to have details. Depending on how small your transfers a page full of the same image to practice original is, you may even want to scan Burnisher (spoon back, bone folder, with. I use Photoshop, but a similar it in at 600 dpi if you plan to enlarge optional straight edge or rolling pin) it to 8" u 10". (Most printers won’t photo-editing program or even your 1" foam brush word processing software can be used. handle paper larger than 8.5" u 11", White fabric or paper (You can use Use the Help function of the program to so this would be the largest size you’d almost any good quality paper, book need unless you have a wide-carriage find out how to place several images on pages, watercolor, journals.) printer.) If your computer can’t handle one page. Smooth, firm work surface (Cover work area with wax paper or plastic large files, you will have to settle for The next step is to prepare the document to protect surface.) smaller images or upgrade your system. for printing. The Properties tab is also optional If you have purchased a CD of copyright- the location where you will find the Dorlands or Gamblin Art Wax free images, just put the CD into your option to Mirror Image. Transferring Medium computer drive and select the images an image results in a mirror-image you want to transfer. of the original print. If you want the At this point I evaluate each image for color and contrast quality. If you have photo-editing software such asFabric, Paper, and Other Photo Transfer Techniques presented by ©Interweave Press LLC 4
  5. 5. Left, from top: Transparency transfer onto white with the X facing up or towards you, muslin (HP inks); color transparency transfer and print something. If the X is on onto fabric (HP inks); color transparency transfer onto fabric (Epson inks). the side with printing, then you will load your transparency with the printable side up or towards you. end product to look exactly like the If the X is on the side without any original, you must tell your printer to printing, then you will load your Flip or Mirror Image before you print. transparencies with the printable side If you will be transferring text, you down or away from you. Print the must always mirror-image the original image. in order for it to be readable after 2. Cut out the image and determine transferring. which side has the ink. I hold my cut tip: Start with small images, about image up to the light to see which 2" u 4". It takes more time to apply side is more reflective. The more medium to and burnish larger images, and reflective side is the one that goes the medium may dry out before you finish. up and the ink side goes down. Set Make several successful small transfers and it ink-side-down next to your work work your way up to larger ones. area. 3. Starting at the top of the fabric or transparency paper, brush medium onto an area transfers about the same size as your image. The trick is to apply just the right amount of medium for each surface using matte, fluid and to do it evenly. To test for even or soft gel medium application on your surface and to smooth out the brush strokes, Additional materials you’ll need: lightly run your index finger over the fabric or paper, feeling for very Transparencies for inkjet printer (not dry or very wet areas. Apply more “quick dry”) medium where needed. Be sure to brush in all directions as the medium 1. Print your image onto your will dry or soak into the fabric fairly transparency. It is important to note quickly and you want all areas to be that transparencies have a right side evenly wet. Smooth the medium to and a wrong side. On most brands, an even application large enough the side you print on will be rougher for the image. The smoother you get or look less shiny than the wrong it, the less streaky the transfer will side. Load your transparency into be. It’s OK to apply more layers of your printer with the correct side medium until you get it feeling just facing up. To determine which side right. With practice, you will be able your computer prints on, check your to keep the medium application time printer documentation. If you are to a minimum because you will work still unsure, mark an X onto a sheet faster and know what you are aiming of paper, load it into your printer for.Fabric, Paper, and Other Photo Transfer Techniques presented by ©Interweave Press LLC 5
  6. 6. note: The key to successful transfers isputting just the right amount of acrylicmedium on your paper or fabric. Too muchand the inks may smear, too little andthey won’t transfer. The surface should bewet—not sticky or tacky, not slippery, butlike running your finger over a cold stick ofbutter. While you are checking for the rightamount of medium, you can also smoothout any brush strokes that will cause astreaky transfer.4. Pick up your image (ink-side down) and place it onto the medium-coated surface. The transparency should stick to the surface. If the surface is too wet, it will slide and smear when you begin to burnish.5. Immediately begin to rub the entire JetPrint matte paper transfer onto book page JetPrint matte paper onto paper. surface with a burnisher using using soft gel medium. some pressure. I start on my focal point and work in a circular motion, these areas did not transfer as well. gel medium to the image side of the widening my circles and expanding Too much medium or too vigorous paper before commencing the transfer. out into the rest of the picture. Once burnishing will cause the inks to Apply a thin layer over the image and you have gone over the entire surface smear. immediately place it on the receiving in this manner, you can switch to a surface and burnish. side-to-side motion. Be careful not to burnish too hard in one direction as paper With paper transfers, your working time is reduced as the paper and medium will you will get a streaky transfer.note: To get a soft, “lost” edge effect, use transfers begin to dry as you work. You may find that some of the paper separates whenless pressure as you work out to the edges. with JetPrint you remove it. Wait until the transferThis will result in less ink transfer and asofter transition. Multi-Project Photo begins to dry a little and then gently rub Paper in matte, away these paper bits from the transfer. Once the transferred image dries, if you6. Once you have gone over the using soft gel see paper fibers, try wetting your finger entire image, lift a corner of the medium and gently rubbing the fibers to remove transparency and check to see that them. everything has transferred to your Additional material you’ll need: liking. You can continue to burnish Paper transfers are trickier to some areas more, or remove the JetPrint Multi-Project Photo Paper accomplish than transparency transfers transfer if it looks good to you. This in matte because of the differences in the bonding should all be done in about 10–15 processes. I recommend mastering the seconds, depending on the size of Follow all of the steps for the transfer process with transparencies the image. If there was not enough transparency transfer above, but once before trying paper transfers. medium or it was not smooth in your receiving surface is prepared, certain areas, you may find that you will also need to add a layer of softFabric, Paper, and Other Photo Transfer Techniques presented by ©Interweave Press LLC 6
  7. 7. Color water transfer onto fabric. Color water transfer onto paper (HP inks). Water transfer onto paper.Gel medium and copy paper. JetPrint matte paper after transfer. Color JetPrint matte paper onto paper (HP inks).Fabric, Paper, and Other Photo Transfer Techniques presented by ©Interweave Press LLC 7
  8. 8. paper watertransfers transferswith plain copy Additional materials you’ll need:paper using regular JetPrint Multi-Project Photo Paper ingel medium glossy Fine mist spray bottle (from craftAdditional materials you’ll need: store) Plain copy paper Fixative spray (matte or glossy) Dorlands or Gamblin Art Wax Medium (optional) This is another very simple method. Because it does not use any acrylicThis is one of the easiest and cheapest medium, the images are not lightfast ortransfer methods. It requires the use permanent (unless you are using Epsonof regular gel medium and plain copy DURAbright® inks) so transfers must bepaper. The disadvantage is that there is sprayed with a fixative.almost always paper residue remaining. It is good for use on fabric as it does1. Prepare photos as outlined above and not change the hand of the fabric and is print on inexpensive copy paper. easy to hand stitch. Transferred images tend to have softened, blurred edges due2. Cut out the image you want to to the inks spreading in the water. Use transfer. as little water spray as possible to keep3. Apply a layer of regular gel medium edges sharp, or use more water for a to your receiving surface. much-softened photo.4. Quickly apply the image, printed- 1. Print images onto JetPrint glossy side-down, and burnish. photo paper.5. Let the paper sit for just under a 2. Cut out image for transfer. minute and then remove the image. 3. Spray receiving paper or fabric until6. Cover remaining paper pieces with just damp, run finger over surface to Dorlands or Gamblin Wax Medium. ensure even wetness. The wax will be absorbed by the 4. Holding image upright and spray paper fibers and they will become bottle about 18" away, give the image translucent. This is a quick way to 2 to 3 sprays of water. add images to an altered book. 5. Lay image onto receiving surface, being careful not to move it, and burnish with some pressure. You can Right, from top: This is the remaining image still on the paper after the transfer; color water transfer onto watercolor paper; glossy photo paper after water transfer.Fabric, Paper, and Other Photo Transfer Techniques presented by ©Interweave Press LLC 8
  9. 9. Caulk on fabric. Caulk transfer onto painted canvas board. Scratchy burnishing can cause streaks in your transfers. even substitute a balled-up paper 1. Prepare and print images onto (also known as “bloom”) will appear towel as your burnisher, as the ink regular copy paper. on the image. Re-wet the area and will easily separate from the glossy rub again until the all fibers are 2. Apply Elmer’s Squeez’ N Caulk to paper. removed. (You may have to repeat your chosen surface spreading a this a third time.) An option is tonote: There is often enough ink remaining generous but thin layer where youon the paper to do another transfer. coat the image with Dorlands or want to place your image.Naturally the second (and sometimes even Gamblin Art Wax which will soakthird) transfer with be fainter. 3. Trim image to size and apply it ink- into the remaining paper fibers and side down to caulked area. Be careful make them translucent. If you apply to keep caulk off the back of the the wax, it should be the last processcaulk image. so it does not repel any water-basedtransfers 4. Burnish gently to ensure that all areas of the paper have adhered to coloring you may want to add to the image. the surface.Additional materials you’ll need: Elmer’s Squeez’N Caulk Clear 5. Set it aside to dry completely. You can speed up the process by using a variables Stretched canvas, canvas board, or heat gun. printers and ink wood There are several variables that can also 6. Once the paper and caulk are Plain copy paper completely dry, remove the paper by affect the quality of your transfers; the Heat gun (optional) wetting it and gently rubbing with main one is printer ink. The brand of your finger so that the paper balls printer you use does not matter as much up and drops off, revealing the inked as the inks that your printer uses. TheThis type of transfer must be done on a image below. You must rub gently inkjet printers on the market today usesurface that can get wet and take some or you will rub away the inked areas. two types of ink: water-based dye inkspunishment, like a painter’s canvas, 300- Once you think you have all the and pigment watercolor paper, fabric, or wood. Itis not intended for transfers onto paper. paper off, set it aside to dry again, Printers are designed with either a singleNote: This process can also be done with or dry it with your heat gun. As the slot for a tri-color cartridge (containingtoner/laser copies. paper dries, tiny little paper fibers all three colors of ink) or three separateFabric, Paper, and Other Photo Transfer Techniques presented by ©Interweave Press LLC 9
  10. 10. cartridges, one for each ink color. Both use a water- and fade-proof ink to begin burnishingtypes always have a separate cartridge with.slot for black ink. The best analogy I can give is that you note: You will often find that the original want to apply as much pressure as youWhen making a transfer from a image remains on the transfer paper use to scrape off one of those stubborntransparency, sometimes the colored ink and on some transparencies (depending price tags. If you are having difficultyprinted from a tri-color cartridge will on your printer inks). It has an altered determining the right amount oftransfer in layers, and your first transfer appearance and is great to use in other pressure to use, try awill have a greenish cast. There is often artwork.enough ink left on the transparency for practice transfer, burnishing from leftanother transfer and this second transfer transparency and to right and increasing your pressure aswill come out with correct coloration. paper brands you go. Lift the transfer and see at whatIf you are having this problem and the point the inks look their best. Logically speaking, all brands ofcoloration bothers you, make a first, Another problem is uneven burnishing. transparency, photo paper, and acryliclightly burnished transfer to get rid of Some areas will look great, while others medium should work the same, butthis green cast and then make a second just miss the mark. A solution to this is that is not always the case. If you areone using regular pressure. This “green to do a once-over burnishing and then consistently having less-than-perfectproblem” does not occur with any of the rotate your transfer 90° and do another (and remember, “perfect” is relative)other transfer methods. allover burnishing. This way you are results and you are sure you are doingPrinters with separate cartridges for everything correctly, perhaps the brand sure to catch all of the areas you mayeach color tend to work better when of medium, transparency, paper, or have missed.making transparency transfers whether ink you are using is the problem. Askthey use dye- or pigment-based inks.For fool-proof transparency transfers, a friend if you can use their printer, or try one of their transparencies, or their frequentlymy printer of choice is an Epson printerthat uses Durabright™ inks. Currently, Golden medium. Keep eliminating variables until you discover the one askedEpson is the only manufacturer ofprinters that use pigment ink. Not all of that was causing your problem. Often you will find that you made successful questions What setting do you print on whentheir printers use pigment inks, nor do transfers in a class yet when you got using a transparency?they all have individual cartridges for home, the results were not as good.each ink color. Perhaps it is because one of the variables I have tried setting my printer on both is different. the “Transparency” setting (in theThe advantage to using DURAbright® Properties menu, Paper Options) andinks for transfers is that they arewaterproof and fade resistant. They humidity the Plain Paper (Default) setting. I have seen no difference in the quality of theseldom smear during burnishing, If you live in a very dry or very humid transfers, so I now just use the Plainand when making a transparency climate, the moisture in the air can Paper setting for all of my transfertransfer, all of the ink transfers off of affect how much medium your paper or printing.the transparency onto the paper or fabric will require. Don’t be alarmed iffabric, resulting in great transfers. your fabric or paper “drinks up” a lot of Does it matter how long ago you printedThe waterproof feature is a plus for medium before you begin the transfer the images that you want to transfer?artists. While dye-based inks are mixed process. This is especially true when I have transferred images that werewith acrylic medium to make them working on fabric. printed over a year ago. They do stillwaterproof and more fade-resistant, you transfer, but I think the inks were not ascan be assured of those two things if youFabric, Paper, and Other Photo Transfer Techniques presented by ©Interweave Press LLC 10
  11. 11. vivid. I would suggest making transfersfrom images printed anywhere from thesame day to six months prior for bestquality.Can you use a transparency more thanonce?Once you have applied the transparencyto an acrylic medium surface, somemedium will dry on the transparencyand you can no longer use it in yourprinter. Some people have experimentedwith printing on the wrong side of thetransparency and taking the very wetprint and carefully placing it down onthe receiving surface, gently burnishing,and then washing and reusing.Directions for this and many otherexperimental methods are discussed onthe Inkjet Transfer Yahoo Group. (SeeResources)Can you transfer onto surfaces thathave been painted, watercolored,stamped, etc?Yes, most definitely! Just remember thatanything that you do to the receivingpaper, fabric, or wood that reduces itsabsorbency (like applying paint), willcreate a slicker surface and the acrylicmedium you apply to it will stay slippery. CREDITS You must be more careful with your Color added by transferring onto a surface I wish to thank the following artists for colored with Portfolio Oil Pastels. burnishing. (See sample above) sharing their transfer processes with me: How about adding color to the image Lisa Cook after it has been transferred? paper transfers Adding color to your finished transfer is Nina Bagley an excellent way to tone down those water transfers white spots where the inks did not ornamental/ transfer. Join me next issue to discover a Claudine Hellmuth variety of tips and techniques for adding caulk transfers color to transfers. Karen Michel copy paper transfers www.karenmichel.comFabric, Paper, and Other Photo Transfer Techniques presented by ©Interweave Press LLC 11
  12. 12. transfer master class Adapted fromCLOTH PAPER SCISSORS® Fall 2005 part II: adding colort ransferring images using the methods and materials I shared with you in the previous article is a wonderful way to add an artistic touch to your work.Transfers are beautiful all by themselves, but what if your artistic vision calls for M AT E R I A L S Colored or patterned papers or fabrics Dyed paper towels (See CLOTH PAPERa little color and all you have are black-and-white images? No problem! Adding SCISSORS™ Summer 2005 article bycolor takes your transfers to a whole new level and adds more fun to the mix. Traci Bautista) Portfolio oil pastelsOne of the simplest methods of adding you have full-color saturation, you can Decorating chalkscolor to black-and-white images is to then adjust the hue. My software has a Prismacolor pencilsdo it right on your computer, before sliding scale that I play with to find a Acrylic paintsyou even print your image. First, scan color I like. In the first sample shown Instant coffeein your photo. Many older photos have here, I increased the original imageyellowed with age. Using your photo- saturation to +100 and then played with Walnut inkadjusting software (I use Photoshop®), the hue to get a rich magenta color. Theyou can increase the saturation of the image was then printed and transferred. Below, from left: Sample 1—color added withimage color. When you over saturate the If you haven’t yet played with adjusting hue adjustment in photo-editing software; Sample 2—Inkjet transfer done on decorativeimage color, you will often end up with saturation and hue, you are in for some patterned paper; Sample 3: Inkjet transfer ona rich overall color to the image. Once great fun. (See sample 1.) painted paper towel. BY Lesley RileyFabric, Paper, and Other Photo Transfer Techniques presented by ©Interweave Press LLC 12
  13. 13. Sample 4: Transfer on paper painted with Sample 5: Background colored with Portfolio Oil Sample 6: Inkjet transfer on printed fabric.Lumiere, fluid acrylic and white acrylic. Pastels before image transfer.tip: If you are a whiz with photo-editing tip: As a general rule, use soft gel paints to prepare a background. I addedsoftware or are patient and willing to work medium when transferring onto paper and off-white acrylic to a small area toat it, you can also color images before matte medium or soft gel medium when make the transfer pop out from theprinting using the paint tools found in those transferring onto fabric. background. (See sample 4.)programs. Painted papers are another excellent One colorful and fun technique when surface for transfers. After reading Tracy working with a transparency is to layadding color Bautista’s article on dyed paper towels it down onto the surface you will bebefore transferring (CLOTH PAPER SCISSORS Summer 2005), I transferring to and make note of theThe next method for adding color is to raided my own little stash of these gems. areas you want color. In this sample,transfer onto a colored, patterned, or They really are strong and absorbent, I used Portfolio oil pastels to add areaspainted surface. These techniques work and I had no trouble making a transfer of color. I heat set the oil pastels andwith both acrylic medium and water using matte medium. The results feel then transferred the image over them.transfers. like fabric. (See sample 3.) When using this technique, don’t strive for exact placement and/or colors. It isI have a huge stash of fabric, so I can easily I also like to prepare a spot on a painted harder to make something look perfectfind a piece to complement the image I surface that I can transfer an image than to intentionally be free with theam transferring or add to the message onto. Depending on the look I want, outcome. The end result is much moreof the piece. I also love to transfer onto I may add some white or off-white appealing and fresh looking. (See sampledecorative artist papers. The better quality paint before the transfer so that the 5.)papers are excellent for transferring onto details do not get lost against a darkerusing soft gel or, in some instances, matte painted background. In my sample, Imedium. (See samples 2 and 6.) used Lumiere and Golden fluid acrylicFabric, Paper, and Other Photo Transfer Techniques presented by ©Interweave Press LLC 13
  14. 14. Sample 7: Coffee staining on Epson Inkjet Sample 8: Coffee staining on HP inkjet transparency Sample 9: Water transfer colored with chalks.transparency transfer. transfer. Again, don’t try for picture-perfectadding color tip: Be careful when using wet media in certain applications. Do not use wet results. Take artistic license with yourafter transferring media on water transfers as the transferred coloring. No one is going to criticizeIt is just as easy and fun to add color color may fade or bleed. Also, black HP you for coloring outside the lines orafter you have transferred your image. printer inks may smear when applying wet making your sky pink. (See sample 10.) media after transfer. Seal transfers with aI use a variety of methods, depending Rubber stamp ink pads or Tsukineko workable fixative before using wet media.on the look I am after. I like to give a Duo-Daubers®, which have a small tip,transferred image another layer of age to For soft color, I use Prismacolor also work well at adding color. And don’tadd to the timeworn surface a transfer pencils or decorating chalk pastels that forget markers!usually generates. One of my favorite come with tiny foam brushes to color Almost any combination of paints,tricks is to mix instant coffee granules in the image. It is easier to control pastels, pencils, inks, markers, andwith a bit of water and selectively add areas of color with these small-tipped surfaces can work. Making art is always a“age spots” to an image. This gives brushes than with the larger Portfolios, learning experience. If one attempt doesa warm brown tone. Try the same especially on fabric. Both the pencils and not work you have not failed, you havetechnique with walnut ink crystals or a chalk should be heat set or sprayed with made a discovery. You know what not tohighly saturated fluid acrylic paint used a fixative when you are done. (See sample do next time. And sometimes, when theeither full-strength or watered down to 9.) stars are in alignment, you can end upgive a yellow, aged effect. My favorite is If it is brilliant color you are after, try with something much better than youGolden quinacridone nickel azo. (See the Portfolio oil pastels over an image originally conceived.samples 7 and 8.) transfer onto paper.Fabric, Paper, and Other Photo Transfer Techniques presented by ©Interweave Press LLC 14
  15. 15. Sample 10: Water transfer on paper colored with Portfolio oil pastels. Sample 11: Matte photo paper transfer on paper colored with colored pencil and dimensional paint. lesleyriley.comtip: Don’t always think about coloring the note: Tracy Bonkers was also awhole image. A little spot of color can go contributor to the matte photo papera long way. (See sample 11.) transfer technique in the Transfer Master Class article in CPS #3 (Summer 2005).Fabric, Paper, and Other Photo Transfer Techniques presented by ©Interweave Press LLC 15
  16. 16. add pattern Adapted from CLOTH PAPER SCISSORS® November/December 2009 to journalswith Zentangles™ and transfersi efirst stumbled across the word “Zentangle,” a term coined for drawing repetitive patterns as a way of meditation, almost two years ago while surfing the blogosphere. I found the official website, ordered a kit, and played withpatterns for months. But my real addiction started when I attended a short workshop taught by the originators themselves:Maria Thomas, an artist and calligrapher, and Rick Roberts, a musician and former monk. BY sandy steen bartholomewFabric, Paper, and Other Photo Transfer Techniques presented by ©Interweave Press LLC 16
  17. 17. Zentangle is a perfect fit with journals. Iteliminates the horror of the blank pageby setting up a ritual of steps to follow.I warn students in my classes that oncethey start to practice Zentangle, patternswill appear everywhere. As your mindrelaxes into the flow, the words comeeasily and blend with the patterns.traditionalzentanglesA traditional Zentangle has a very simpleritual.DI REC T I O N S1. Make a pencil dot in each corner of your paper tile. Connect the dots to form a frame. The pencil lines become part of the This very simple process can be easily drawing.) applied to art journals. The journal page2. Draw “strings” or guidelines. becomes the tile. Start with the four Imagine you are holding a piece of 3. Switch to a pen and draw patterns dots, one in each corner, then sketch in thread and then drop it onto the into the various sections formed by a frame. If you prefer to work right up tile. The random shape it forms the string. to the edges of the page, then think of is your guideline. Draw the string 4. Continue to fill in patterns while the page itself as the frame. The string with pencil. (It will not be erased. rotating the tile. comes next with a random zigzag or other sources OF inspiration (see image above right) A stack of firewood: The ends form a crescent moon pattern. Stones, bricks, tiles: All form very simple shapes repeated over and over. CDs: Fill a section with circles. Put a small circle in the center of each big circle, then outline each small circle. Calendar: Grids can inspire an endless number of patterns. Lined paper: Lines, that’s easy! Lampshade: Random lines on a slight angle. The back of a hard drive: Mine has a crazy pattern of dots and dashes. A huge pile of books and manuals: This looks like the tangle “BB” on its side.Fabric, Paper, and Other Photo Transfer Techniques presented by ©Interweave Press LLC 17
  18. 18. string to write in and start writing in cursive. When the section is filled, turn the journal 90° and keep writing, right over the first lines of text. This forms a very pretty pattern and you cannot read the writing. Feel free to rant and curse, it’s very cathartic and no one will ever know. For a playful pattern, fill a section of your journal page with lowercase block letters. They can spell something, or not. Put an “aura” or an outline around each letter. Keep adding outlines until the space is filled. If you have a theme, a quote, a few words, or another idea that you wantloopy line to break up the page. I like to with horizontal lines repeating where to mull over and meditate on beforeadd my text lines as part of this string, the grips are. The lines are all slightly starting to write, you can turn thoseor at least consider where the text curved. That’s a Zentangle. words into a tangle. Simply writewill go. The text is really just another the words, in pencil, in your usualpattern, so it can be added now, or after make patterns handwriting, but exaggerate the size a bit. Then outline the letters with aother tangles have been drawn. It really with textdepends on whether or not you know Micron® pen, erase the pencil lines, and Text can inspire many beautiful, fill in the background.what you want to write about. easy patterns. The tangle “Eke”tip: If you have a topic, do the text first is rows of interlocking, cursive, tip: In traditional Zentangles, there isbecause it will inspire your patterns. If you no color other than gray from shading. lowercase “e’s.” Pick a section of theare at a loss as to what to write about,start tangling, and the ideas will come asyour brain relaxes.where to findpatternsIn the image “How to Create aZentangle” there are instructions onhow to draw a few patterns. (Moredirections can be found in the Newsletterssection or at my blog where I post aTangle of the Week.) Also look at patternbooks, your rubber stamp collection, thebottoms of your shoes, your clothes, thedining room chairs, fancy woodwork,your pantry, garage...great patterns areeverywhere. For example, I have a waterbottle in front of me. When I squint atit, I see the basic shape of a rectangleFabric, Paper, and Other Photo Transfer Techniques presented by ©Interweave Press LLC 18
  19. 19. 4. Fill a small spray bottle with rubbing alcohol. Hold the image by the tab over a sink or a protected surface with the printed side up. Spritz lightly with the rubbing alcohol until the entire surface looks slightly shiny. 5. Quickly place it face down onto your journal page and burnish the back with a bone folder or the back of a spoon. 6. Carefully peel up the tab a little to see if it has transferred. If not, rub some more. Once you are happy with the transfer, peel off the Sheer Heaven and reveal your transfer. beezinthebelfry.blogspot.comBut, also, there are no rules! So you can paper. It works well with many materialsuse Zentangles any way they suit you. Inthe piece shown below, I used Inktense and techniques, but it is pure magic for transfers. I have used photos, text, transfer tipswatercolor pencils because, when wet, Applying the right amount of and even my daughter’s drawings. The rubbing alcohol takes practice. Toothe colors are super bright and juicy, andafter they dry, they are permanent. That images can be edited on your computer little and the transfer will be spotty;means that if you color something blue, and printed out onto the Sheer Heaven too much and it will bleed.add water and let it dry, and then wash transfer paper, or you can draw directly The transfer will work on anyyellow over it, the yellow will stay yellow onto it. absorbent material like uncoatedand not turn green. paper, cloth, and on some wood. note: The back side is silky smooth and On textured papers and cloth it willYou will be amazed at the ideas that will the front (transfer side) is slightly textured, only transfer to the “high points.”come into your head! The left brain is or “toothy.” It will not work on gesso, acrylicthinking the words over and over while paints, or slick papers.controlling where the lines go. The right DIRECTIONS Certain inkjet colors have abrain is making artistic choices about tendency to bleed through certain 1. Reverse your photos, text, or other papers, so do a test first, and don’tcoloring in and thickness of line, and images in your computer photo make transfers onto to the back of afeeling satisfaction with contrasting program and print onto Sheer piece of art that you love.colors. The worry part of the brain is Heaven (toothy side) using your Once the transfer is completely drypushed out completely, leaving space for inkjet printer. Or, using colored you can draw, paint, and add anynew thoughts. embellishments. pencils or Micron pens, trace or draw the image you want to transfer onto Many art materials will transfer withzentangles the toothy (rough) side of the Sheer Heaven. this method. Make a test strip of your favorites.and transfers 2. note: Keep in mind that the image A used piece of Sheer Heaven cannot be used as a transferAnother technique I use in my journals will be reversed. again, but it makes a great stencilis Sheer Heaven™ transfers. Sheer for chalks or inks. It won’t tear or 3. Trim the images closely, but leave a wrinkle.Heaven feels like a thick sheet of tracing tab to hold onto.Fabric, Paper, and Other Photo Transfer Techniques presented by ©Interweave Press LLC 19
  20. 20. Adapted from CLOTH PAPER SCISSORS® November/December 2011 twice the fun with instant film a t the age of seven I was given a 110 camera to record a family trip. From that day forward I was captivated by freezing time with a click of the shutter. In high school, a patient science teacher taught me, the sole member of the photography club, how to process my images in a black-and-white darkroom. I was soon addicted to the rush of watching a print appear in the processing trays. BY tiffany teskeFabric, Paper, and Other Photo Transfer Techniques presented by ©Interweave Press LLC 20
  21. 21. M AT E R I A L S Fuji FP 100C pack instant film cartridge Vintage camera that takes Polaroid 100 series pack films (I use a 1969 Polaroid Colorpack II.) Watercolor or printmaking paper, 90–140 lb, 4" u 5" pieces, hotFast forward to university where Imajored in photography and studio artand could work in both a color and a directions press (smooth surface) (I use Arches™ watercolor or Rives BFK printmaking Both transfers and emulsion lifts can be papers.)black-and-white darkroom. I learned made with Fuji film. Clipboard, plasticto change the same negatives into very Water tray (I use 8" u 10" darkroomdifferent final prints. Outside of the working with trays.)darkroom, I became obsessed with theinstant Polaroid processes of transfer the film Plexiglass, 5" u 7" Squeegeeand emulsion lifts. The way my images note: A film pack is an individual Brayer, 4", soft rubbertransformed from modern to painterly photograph that includes the positive and the negative part of the image. Cardboard box with flaps at the top,with a vintage feel made my heart sing. up to 12" deep and widePolaroid processes allowed me to put Load your camera with the film 1. optionalmy own mark on my images, without a cartridge. (Figure 1) Pull the black tab Finely woven fabric such as silk;darkroom. that is outside of the camera to ready clamshells; metal; wood; canvas;When my friends and clients heard that the film. (Figure 2) handmade paper; rice paper; or glassPolaroid had quit making instant film note: The black tab is attached to a stripthey thought I would be devastated. But of paper that keeps the film from beingI have always welcomed change and Step-out photos by Tiffany Teskequickly made up my mind that I wouldembrace new ways of working. When Imet Fuji FP-100C, I fell in love all overagain.If you’re the adventurous sort and thinkyou’ve tried it all, then this instant filmworkshop is especially for you. Trackingdown a camera might be a challenge, butit’ll be worth it. Figure 1 Figure 2Fabric, Paper, and Other Photo Transfer Techniques presented by ©Interweave Press LLC 21
  22. 22. Figure 3 Figure 5 Figure 4 Figure 6 exposed to light. Once the black strip is straight out of the camera, in one fluid removed there will be a series of white motion. (Figure 4) numbered tabs showing. This means the film is loaded correctly and ready to be exposed. fuji transfer 2. Compose your image in the To prepare to make a transfer, gather viewfinder and push the button to your supplies. You will need to complete expose the film. Step 3 of the transfer in either a note: The more contrast in your image, darkened room or inside the box. Fill the better. your tray with water and have your paper, clipboard, plexiglass, squeegee, 3. Remove the film from your camera and brayer near your tray. by first pulling the smaller white tab, 1. Take your photograph, and bring your with a number on it, straight out of the camera. (Figure 3) This will cause camera to your work station. Do not a white tab with arrows to come out of remove the photo from the camera. the camera. Wet your paper in the water by turning it over 8–10 times. Place it on the 4. Completely remove the film pack by plexiglass and pull the squeegee over pulling the white tab with arrows the paper to remove the extra water.Fabric, Paper, and Other Photo Transfer Techniques presented by ©Interweave Press LLC 22
  23. 23. Figure 7 Figure 9 Figure 8 Flip your paper over so the wetter side is facing up and lay it down on the clipboard.note: The next step must be completedwithin 20 seconds so that the chemicalsneeded to make the transfer have notoverprocessed.2. Remove your image from the camera Completed transfer and rip the tab with the arrows off of clipboard against the wet paper. (Figure 6) Hold the printed tab in the middle the film pack leaving two tabs, one 5) and pull it straight back, parallel to the above the positive (gray) side and one clipboard, until it comes apart from 3. Immediately take the clipboard into above the negative (black) side of the the pack. (Figure 7) Press the negative a darkened room or place it in a pack film. Prepare for a transfer by against the paper, and burnish with the cardboard box. Hold up the film pack folding the paper with red writing back brayer in all directions for 30 seconds. between the thumb and forefinger so that it is touching the gray side of (Figure 8) Let the negative and paper sit of one hand, and find the tab with the film pack. Flip the pack over, so the together for 90 seconds. the writing that is not clipped to the black side is up, and clip the tab above clipboard with the other hand. (Figure the black side under the clip of theFabric, Paper, and Other Photo Transfer Techniques presented by ©Interweave Press LLC 23
  24. 24. 4. The clipboard can now be moved to the light. Remove the negative from the paper by holding the paper against the clipboard with your fingertip and peeling back the positive with the other hand. Peel back at a sharp angle; do not just lift it off. Let dry. (Figure 9)fuji emulsion lift1. Take a photograph and remove the film from the camera.2. Let the photograph sit for 2 minutes and then rip the tab with the arrow off of the film pack and peel apart. Figure 10 Figure 113. To start the emulsion lift, place the positive side of the film pack (the one that has the image) in a tray of hot water. (Figure 10)4. Once the emulsion has started to loosen (2–3 minutes), remove it from the water.5. Use an old credit card to scrape the emulsion off the surface of the film in one direction, using a continuous motion. (Figure 11)6. Place the completed emulsion lift into a tray of cold water to straighten it out. (Figure 12) It is quite strong, much like thin acetate. It is easiest to work Figure 12Fabric, Paper, and Other Photo Transfer Techniques presented by ©Interweave Press LLC 24
  25. 25. with when it is still wet and pliable, before it has dried completely. To use, remove from the water, pat dry, and finding film, immediately attach to paper, wood, shell, ceramic, metal, mirror, or any cameras other non-porous surface, using gel medium. If the lift has dried it can be and more placed in water again to soften. The least expensive way to get started with Fuji processes is by using aI never know exactly what will happen Polaroid camera. Fuji created thiswhen I work with Fuji transfers and particular film for their passportemulsion lifts. I accept that this process camera systems and they do notis difficult to control and always make a consumer model camera thatproduces different results. This element uses it. Look for a Polaroid camera that takes two-part, 100 series packof surprise is part of the magic that film, which differs considerably frommakes each image a unique element in the classic Polaroid camera thatmy mixed-media pieces. Take a chance automatically spits out an image asand see how these processes can inspire soon as it is taken. You can find theseyou. cameras for sale at thrift stores, yard sales, in photography forums, Finished emulsion on eBay. To find out which cameras use this specific pack film check out the Land List (, an online archive of all products by Polaroid. arc Daylab Corporation ( Day makes several photo processing ma machines that allow slides and digital ma prints to be exposed onto Polaroid and prin Fuji pack films. This allows the flexibility Fuj of w working with images that have already been created and of creating alre many transfers and lifts using the same ma or vvariations of the same image. Fu FP 100C can be purchased at Fuji camera shops and online. Polaroid is ca no longer making pack film, but you can buy expired film online through c Impossible Project I ( or on eBay. The process of making a Polaroid transfer or emulsion lift varies from Fuji processes. Expired film can be difficult to work with because of chemistry issues, but the uncertainty of the results can be half the creative fun.Fabric, Paper, and Other Photo Transfer Techniques presented by ©Interweave Press LLC 25