From the book Photographic Possibilities, Third Edition: The Expressive Use of Equipment, Ideas, Materials, and Processes (Paperback) by Robert Hirsch

Acrylic Lifts

There are many methods used to create acrylic lifts, but this process has been the most successful for me. I reverse my images in Photoshop and print them with Epson K3 inks on Ultra Premium Presentation paper (for smaller images you can use Talbot Arts Transfer Paper). This process can also be used to transfer other inkjet, magazine and toner images.

Supply List

• Inkjet print (printed in reverse)
• 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 for clamping
• 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 front of the reverse printed image; cover the image surface entirely. Let dry. Re-coat 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 in between coats.
3. *(optional) 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, recoat both surfaces once more with the acrylic gel. Flip and sandwich the image over onto the birch panel while the gel is still wet.
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 now 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 desired effect.

Please note, the transfer process is not an exact science… experiment and decide what works for you!  Visit our Acrylic Lift Flickr Group for more examples and varieties of this process from other artists.

Supply Link List

Epson Ultra Premium Presentation Paper

or

Talbot Arts Transfer Paper

Baltic Birch Panels

Acrylic Gel Medium

UV Varnish

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