Pigment Transfer Process
What is a pigment transfer?
A pigment transfer is a printmaking process that uses acrylic paint or medium to transfer an image from a photocopy onto another surface. Once dry, the paper is removed with water and abrasion, leaving the image embedded in the acrylic film. Each transfer is shaped by variations in pressure, moisture, and surface texture.
Pigment transfers are a central part of my studio practice. I use the process to move images from the digital world into physical objects, introducing distortion, erosion, and material variation along the way. These unpredictable changes have become an important part of my exploration of memory, fragmentation, and time.
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Finished Transfers
Secrets of the Sea — pigment transfer on paper, 8 × 10 inches, 2010
The Future We Remember — pigment transfer on paper, 8 × 10 inches, 2026
Closing Credits at the End of the Movie — pigment transfer on canvas, 36 × 48 inches, 2008
Unexplained Mysteries of the Universe — acrylic, pigment transfer on canvas, 15 × 10 inches, 2019
The Pigment Transfer Process
My pigment transfers combine elements of drawing, painting, and printmaking. I begin with images drawn from archival material, personal photographs, and satellite imagery, transferring them onto paper or canvas using acrylic paint or medium.
The transfer is only the beginning. Once the image is embedded in the surface, I continue working through drawing, erasure, abrasion, and repainting. Some areas remain intact while others shift, deteriorate, or disappear entirely. The finished work reflects both deliberate decisions and the unpredictable nature of the process.
The pigment transfer process.
Materials
Primer — I use Utrecht Professional Acrylic Gesso to prepare the receiving surface, whether paper or canvas. I tint the gesso to a warm white to match the natural color of the paper.
Acrylic Medium — Utrecht Artists' Acrylic Fluid Medium – Matte Medium. I use this for the initial layers applied to the photocopy.
Photocopy — A standard black-and-white or color photocopy on plain paper. Mirror the original image before making the photocopy, as the transfer reverses it.
Transfer Surface — Any prepared surface that accepts acrylic paint, including paper, canvas, or wood. For works on paper, I use Legion Stonehenge Natural, 90 lb (250 gsm), 22 × 30 inches, 100% cotton.
Paintbrush or Foam Brush — For applying the acrylic medium and gesso.
Spray Bottle — For wetting the paper during removal.
Bristle Scrub Brush — A 2–3 inch brush with the bristles cut down to approximately ¼–½ inch for removing the paper.
Fan — For circulating air and helping the acrylic layers dry.
Flat Working Surface — A wall, table, or plywood panel to support the materials during application and drying.
Staple Gun or Tape — For securing the photocopy and receiving surface.
Cotton Cloth — I use reclaimed white cotton T-shirts for removing the remaining paper fibers.
Screen-Printing Squeegee — For applying even pressure and removing air bubbles during the transfer. You can also use your hands.
Scissors or X-Acto Knife — For trimming the paper and finished transfer.
Step by Step
Step 1 — Preparing the Image
I begin by preparing the image in Photoshop, adjusting the contrast, color, and composition as needed. Because the transfer reverses the image, I flip it horizontally before printing.
I use standard photocopies on plain paper rather than inkjet prints. The toner becomes embedded in the acrylic medium during the transfer process, while the paper is eventually removed.
The materials used for the transfer.
A bristle brush trimmed to ½ inch for paper removal.
Step 2 — Preparing the Surface
I use Legion Stonehenge Natural paper for most of my pigment transfers. Before transferring the image, I apply a thin, even coat of Utrecht Professional Acrylic Gesso to the paper. I tint the gesso with small amounts of yellow and blue acrylic paint to create a warm white that closely matches the paper's natural color.
Once the gesso is completely dry, the surface is ready for the transfer.
The mirrored photocopy with registration and trimming marks.
The photocopy secured to a flat surface to prevent buckling during application and drying.
Step 3 — Applying the Acrylic Medium
I apply two to three thin, even coats of Utrecht Artists' Acrylic Fluid Medium – Matte Medium directly to the printed side of the photocopy, allowing each coat to dry completely before applying the next.
These layers create an acrylic film that holds the toner in place during the transfer. They also make the photocopy easier to handle and help minimize wrinkling when the final transfer layer is applied.
I use a foam brush to apply the medium in quick, even passes. The fluid consistency allows enough working time to cover the photocopy before the paper begins to buckle or distort.
Applying the initial layers of acrylic medium.
Preparing the receiving surface with tinted gesso.
Step 4 — Transferring the Image
Once the acrylic medium has dried completely, I apply a full, even coat of tinted gesso directly to the prepared photocopy, covering the image out to the registration marks.
I then place the photocopy face down onto the prepared receiving surface, which has been secured to the wall. Using a screen-printing squeegee, I apply even pressure from the center outward to remove air bubbles and ensure full contact between the two surfaces.
Acrylic matte medium can also be used for this final layer. I prefer gesso because it provides an opaque background without introducing another transparent layer where dust and surface imperfections may become visible. Applying it directly to the photocopy also makes the process less messy.
I allow the transfer to dry completely before removing the paper.
Applying the final layer of gesso to the photocopy.
Removing air bubbles with a squeegee.
Positioning the photocopy on the prepared surface.
Smoothing the transfer by hand.
The transfer secured to the wall for drying.
Step 5 — Removing the Paper
Once the transfer has dried completely, I saturate the back of the photocopy with water using a spray bottle. I begin removing the paper with a stiff bristle brush, trimmed to approximately ¼–½ inch.
I start in a small area near the edge to test whether the acrylic has dried sufficiently. If the pigment begins lifting too easily, I stop and allow the transfer to dry longer. Once I'm satisfied, I continue scrubbing away the paper with the brush.
When only the finer paper fibers remain, I switch to a soft cotton T-shirt. At this stage, I mist the surface lightly rather than saturating it, making the remaining fibers easier to see and remove.
Finally, I inspect the transfer using high-magnification reading glasses, removing any remaining particles with my fingers or the cotton cloth.
Removing the paper with a trimmed bristle brush.
Removing the majority of the paper before addressing the remaining fibers.
Removing the paper gradually to avoid damaging the image.
Removing loose paper pulp before continuing with a cotton cloth.
Step 6 — Finishing the Transfer
Once the remaining paper fibers have been removed, I allow the transfer to dry completely. As the surface dries, any remaining fibers become more visible, allowing me to identify areas that need additional cleaning.
Depending on the piece, I may continue working with acrylic paint, drawing, or additional abrasion. Some transfers remain largely intact, while others become the starting point for further development.
A protective coating isn't necessary, but I have used Krylon Gallery Series UV Archival Varnish in Satin to provide additional protection. I apply it only after the transfer has dried completely.
Removing the remaining paper fibers with a soft cotton cloth.
Allowing the finished transfer to dry before trimming.
Finished Transfers
Once the remaining paper has been removed, allow the transfer to dry completely before trimming it to the desired size.
These three transfers were made from the same source image, using different amounts of pressure during the paper removal process. The variations in abrasion demonstrate how the process can produce distinctly different results.
FAQ
What is a pigment transfer?
A pigment transfer is a process in which acrylic paint or medium is used to transfer an image from a photocopy onto another surface. Once dry, the paper is removed with water and abrasion, leaving the photocopied pigment embedded in the acrylic film.
Are pigment transfers original artworks?
Yes. Each pigment transfer is created by hand, with variations in pressure, moisture, and abrasion producing different results. Even when using the same source image, no two transfers are identical. Each is a unique, original work.
How are pigment transfers different from prints?
Unlike conventional reproduction prints, pigment transfers involve physical processes that alter the original image. Variations in texture, density, and surface quality make each transfer unique. Rather than reproducing an image exactly, the process transforms it.
Can pigment transfers be reproduced?
The same source image can be used to create multiple transfers, but each will differ due to the handmade process. Variations in application, pressure, drying, and paper removal produce results that cannot be duplicated precisely.
What materials are best for pigment transfers?
I use standard black-and-white or color photocopies on plain paper, acrylic paint or medium, and a prepared surface such as paper, canvas, or wood. The choice of materials and surface affects the texture and final appearance of the transfer.
Who developed this pigment transfer method?
Artists have experimented with acrylic image transfers for decades. The specific method described here is one I have developed and refined through years of working with photocopies, acrylic paint, and image transfer techniques.