Applications & Techniques:
Direct Image Transfers with
Patti Brady, Director
Working Artists Program
Nearly any gel, medium,
or acrylic paint will work to lift an image, depending on the texture,
clarity, and color you want to trap the image within.
1. Apply the gel or paint, and while it is wet, place the image
side of a laser copy directly into the wet gel. Let dry overnight
2. Dampen the paper with a wet sponge. Give it a few minutes
to allow the water to soak the paper. Begin rubbing carefully. Use a
scrubbie, or a soft cloth to remove the paper. You will probably have
to remove the paper a few times, for a clean transfer. When the water
evaporates, you will be able to see the areas that you missed.
Heavy Gel Gloss--This
dries to a clear glass like surface completely transparent.
The Molding Paste
was tinted with a small amount of Fluid Green Gold. Molding Paste dries
to a very flat surface retaining good detail with transfers.
Matte Fluid dries
to a very matte flat surface, retaining detail with transfers. The low
viscosity or "fluidity" of the Fluids allow for a brush stroke
free application. This orange color was achieved with
mixture of Diarylide Yellow and Pyrrole Red Matte Fluids.
Paste is a porous with a "frosting" like viscosity. This sample
was mixed with Fluid Quin Red Light, for a luscious pink.
This image took
several steps. A layer of Pumice Gel Coarse was applied with a palette
knife and allowed to dry. The dry Pumice Gel was stained with Fluids:
Green Gold and Vat Orange, thinned with water. When this stain was dry,
a layer of Tar Gel was poured on top, immediately the transfer was applied
The Crackle Paste
was applied with a palette knife. If you apply it thickly, the cracks
will be large and highly irregular. Thinner applications will promote
a smaller crackle. Apply the transfer while
the Crackle Paste is wet. The cracks will appear overnight. After the
transfer is removed, stain the surface with Iridescent Bronze Fluid,
thinned with water. The area where the transfer is applied will not
crack. The clock image was trimmed before application.
The Scotty Dog
Clock ( was applied to a mix of Acrylic Ground for Pastel, tinted with
a few drops of Fluid Quinacridone Gold/Nickel Azo Yellow. A thin application
of the Acrylic Ground for Pastels allows the base color to show through.
The dry surface has a slight tooth for drawing with graphite, color
pencil, or pastel. It also imparts a wonderful surface for watercolor
like washes with thinned Fluids.
This clock was
applied to a mixture of Coarse Granular Gel tinted with a few drops
of Cobalt Teal Fluid. The Granular Gel dries to a irregular surface,
so transfers do not retain all the detail.
This clock was
transferred into one thin coat of Interference Oxide Red Fluid.