Written by Terry Towery
This process allows paper too thick to run through the rinter to be
imaged on. eg bark, Handmade paper, Mount board...
Using Photoshop or the printer software
Set the printer driver to a slightly darker (5-20%) than normal setting.
This depends on the look you are after and is heavily influenced by
the absobancy of the paper you are working with.
Because of the nature of the transfer process, everything is reversed
. If this matters to the image e.g. if there is any type of identifyng
object in the scene such as type, wedding rings or license plates etc
then either use Photoshop to reverse the image or the printer driver.
1. Load the printer with a sheet of Wax paper or some other thin glossy
slick material that is specifically NOT designed for inkjet printers
(let me know if you find something better than wax paper). The idea
is to get ink onto a surface that it will not bind to. Do NOT use inkjet
paper or inkjet transparency material. The backing from sticker pages
works well. This paper tends to curl easily so you may need to hand
feed it. Try to find the thickest wax paper available.
2. While printing, wet a piece of artists paper or any other suitable
material thoroughly. Drain until no free water stands on the paper.
Blot dry. it should be damp not wet. Alternatively, mist the surface
with a fine misting bottle. You might want to add a small amount of
a wetting agent such as Kodak Photo Flo to the water. While it works
directly onto dry paper the inks don't settle into the paper as well
and the print looks weak.
The substrate must have some "tooth" for the inks to bind to. Polished
metal or glass etc will probably not work. Try scratching these surfaces
with fine grit sandpaper or coating them with a transparent glaze such
as polyurethane or Matte Medium or one of the artist's spray materials.
3. Place damp paper on a hard surface such as a formica counter top
or flat bottomed photo tray or a clipboard.
4. Immediately after print exits from inkjet printer, lay face down
on paper. Use a brayer, a glass rolled on its side or your fingers to
smooth the paper onto the damp reciever. Try to keep the paper as still
as possible, any slips here will move the image on the receiver.
Suggestions for experimenting:
Embrace the flaws. Part of the charm of this process is the ability
to introduce some elemnt of the artists hand into the printing process.
The wetter the paper the more smudging that occurs. This can be a bonus
and is not necessarily a flaw.
If you absolutley MUST not have slippage then use a clipboard to hold
the paper and receiver together in registration
Experiment with multiple transfers onto the same surface. Collage/montage
or multiple runs of the wax paper through the printer.
Since the inks are Water based inks... Might try "sizing" the paper
first. Paper and Book binder supply houses sell a variety of materials
for sizing gesso and artists grounds work well. Do Not use Water based
materials for this step as the wetting stage will release them.
Coating the paper print with shellac, Polyurethane, Beeswax or a spray
type UV coating allows you to work back into the surface with traditional
artists materials such as oil paint.
Add food coloring or Watercolor paint to the wetting step to add color
to the substrate before the printing.
Because all 5 inks rarely run out simultaneously, there is often a residual
amount of ink left on at least some of the cartridges. This ink matches
the inks transferred perfectly. think retouching...
Come back in to the print using paint or dyes to work on the surface...
Because I am concerned with permanence, I use the Luminos inks
Anything that the wet ink comes in contact with before the transfer
process will smudge it (think fingers). This includes the guides and
the gate on the printer. Be careful not to curl or touch the wet print
when removing from the printer.