Gin transfer: Difference between revisions
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A '''gin transfer''' is an artistic technique for transferring an image, such as a [[photograph]], to [[polymer clay]]. | A '''gin transfer''' is an artistic technique for transferring an image, such as a [[photograph]], to [[polymer clay]]. The image is rubbed with [[gin]] and then [[burnished]]. Alternatives include T-shirt [[transfer paper]]. The process and technique are simple and non-toxic but require high-quality paper to be effective.<ref name="method">{{cite web|title=GIN TECHNIQUE TO TRANSFER COLOR OR BLACK AND WHITE PHOTOCOPIES TO POLYMER CLAY|url=http://www.ibiblio.org/quiltart/images/reference/gintransfer-polymerlcay.pdf}}</ref> | ||
==Procedure== | ==Procedure== | ||
<ref name="method" /> | <ref name="method" /> | ||
1. Condition the clay by putting it through the pasta machine until it has softened | 1. Condition the clay by putting it through the pasta machine until it has softened and become smooth and pliable. | ||
pliable. | |||
2. Place the clay on a smooth ceramic | 2. Place the clay on a smooth ceramic tile covered with parchment paper and gently smooth it flat. Use your finger pads to flatten any ridges and smooth the surface. | ||
finger pads to flatten any ridges and smooth the surface. | |||
3. You can cut or | 3. You can cut or stamp and cut the clay to project sizes now or wait until designs are transferred to the clay. | ||
4. Trim excess paper from your transfer. Remember the image will be reversed once transferred, so your | 4. Trim excess paper from your transfer. Remember the image will be reversed once transferred, so your photocopy should be a mirrored image of your original. | ||
photocopy should be a mirrored image of your original. | |||
5. Place | 5. Place photocopies where wanted, toner side down on the clay. Use your fingertips, and starting in the center of the paper, smooth outwards towards the edges. Use a light touch so as not to distort or gouge the clay with your fingernails. The ink will not transfer to the clay if the paper and clay are not in contact. Body heat helps this process. | ||
the center of the paper, smooth | |||
contact | |||
6. Trim away any excess clay. | 6. Trim away any excess clay. | ||
7. Next, dampen the back of the paper with a thin coating of | 7. Next, dampen the back of the paper with a thin coating of transfer liquid. Dab it on sparingly with your fingertips or a fine sponge brush that has been squeezed until nearly dry. Cover all parts of the paper that have ink on them. It is important not to use too much transfer liquid, so always blot with a paper towel immediately after applying. | ||
fingertips or a fine sponge brush that has been squeezed until nearly dry. Cover all parts of the paper that have | |||
ink on them. It is important not to use too much | |||
immediately after applying. | |||
8. Next burnish with a burnishing tool of choice, metal burnisher, bowl of a teaspoon or the edge of a bone folder. | 8. Next, burnish with a burnishing tool of choice, a metal burnisher, the bowl of a teaspoon, or the edge of a bone folder. Start in the center and work your way to the edges. Do not use heavy pressure or you will gouge or distort the clay. Be thorough, and burnish over all of the paper. While burnishing, you will see the image fade away even more. Cover the whole area and spend time on the edges. This should take no more than one minute. | ||
Start in the center and work your way to the edges. Do not use heavy pressure or you | |||
clay. Be thorough, and burnish over all of the paper. While burnishing, you will see the image fade away even | |||
more. Cover the whole area and spend time on the edges. This should take no more than one minute. | |||
9. To remove the top layers of the paper start in the center and use the pads of your fingertips. Roll the top layer | 9. To remove the top layers of the paper, start in the center and use the pads of your fingertips. Roll the top layer of paper off the clay. Use a side-to-side or up-and-down motion. No circular rubbing. The paper will start rolling up from the clay into small, balled bits. Sometimes, if the piece is large or a vent is blowing on the piece, the transfer liquid dries too quickly and the paper is no longer damp. If this happens, dampen your fingertips with transfer liquid and continue to remove paper. Again, watch the amount of liquid you are putting on the clay, blot the excess with a paper towel, and allow the piece to dry slightly. Continuously applying too much transfer liquid will cause the transferred toner to feel tacky and smear or cause bubbles to appear in the clay during curing. | ||
of paper off the clay. Use a side to side or up and down motion. No circular rubbing. The paper | |||
start rolling up from the clay into small, balled bits. Sometimes if the piece is large or a vent is blowing on the | |||
piece, the | |||
fingertips with | |||
putting on the clay, blot the excess with a paper towel and allow the piece to dry slightly. | |||
cause bubbles to appear in the clay during | |||
10. Gently brush away any loose lint and paper rolls from your clay. Do this frequently with a large soft bristle | 10. Gently brush away any loose lint and paper rolls from your clay. Do this frequently with a large soft bristle brush. This clears the work area of paper bits that can get stuck in and contaminate the clay. | ||
brush. This clears the work | |||
11. To remove the last layer of lint and paper, slightly dampen your finger pads with the | 11. To remove the last layer of lint and paper, slightly dampen your finger pads with the transfer liquid. Starting in the center of the image that has been revealed, use a circular motion to rub the lint and paper away. Some lint will remain, especially on very dark transfers. That is fine; a final cleaning will occur after curing. | ||
Starting in the center of the image that has been revealed, use a circular motion to rub the lint and paper away. | |||
Some lint will remain, especially on very dark transfers. That is fine; | |||
12. Allow the image to air dry a few minutes. | 12. Allow the image to air dry for a few minutes. | ||
13. Do any final pattern cutting or trimming. Slightly dampen any section to be trimmed or cut with | 13. Do any final pattern cutting or trimming. Slightly dampen any section to be trimmed or cut with transfer liquid; the toner can crack slightly when dry. | ||
14. Square any corners that need it. | 14. Square any corners that need it. | ||
15. After | 15. After transferring the image, resist repeatedly touching the surface while completing other project steps before curing the clay. Your fingers can warm the surface and distort the clay or lift off some of the toner. The toner is initially embedded into the clay, but as it sits, it tends to rise on those containing a lot of dark toner. | ||
or lift off | |||
containing a lot of dark toner. | |||
16. Finish any steps required for your project and cure the clay as previously instructed. | 16. Finish any steps required for your project and cure the clay as previously instructed. | ||
17. Remove clay from oven and tile to cool. | 17. Remove the clay from the oven and tile to cool. | ||
18. The last bit of lint can now be removed from the transfer by wetting the surface | 18. The last bit of lint can now be removed from the transfer by wetting the surface with water and rubbing with a lint-free towel in a circular motion. | ||
rubbing with a lint free towel in a circular motion. | |||
==References== | ==References== | ||
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[[Category:Artistic techniques]] | [[Category:Artistic techniques]] | ||
[[Category:Handicrafts]] {{⚠️🚨COPIED from en.EverybodyWiki.com ❗❕⚠️😡😤Please respect Licence CC-BY-SA ❗}} | [[Category:Handicrafts]] {{⚠️🚨COPIED from en.EverybodyWiki.com ❗❕⚠️😡😤Please respect Licence CC-BY-SA ❗}} | ||
{{Source Wikipedia}} | {{Source Wikipedia}} | ||
Latest revision as of 11:11, 19 March 2025
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A gin transfer is an artistic technique for transferring an image, such as a photograph, to polymer clay. The image is rubbed with gin and then burnished. Alternatives include T-shirt transfer paper. The process and technique are simple and non-toxic but require high-quality paper to be effective.[1]
Procedure
1. Condition the clay by putting it through the pasta machine until it has softened and become smooth and pliable.
2. Place the clay on a smooth ceramic tile covered with parchment paper and gently smooth it flat. Use your finger pads to flatten any ridges and smooth the surface.
3. You can cut or stamp and cut the clay to project sizes now or wait until designs are transferred to the clay.
4. Trim excess paper from your transfer. Remember the image will be reversed once transferred, so your photocopy should be a mirrored image of your original.
5. Place photocopies where wanted, toner side down on the clay. Use your fingertips, and starting in the center of the paper, smooth outwards towards the edges. Use a light touch so as not to distort or gouge the clay with your fingernails. The ink will not transfer to the clay if the paper and clay are not in contact. Body heat helps this process.
6. Trim away any excess clay.
7. Next, dampen the back of the paper with a thin coating of transfer liquid. Dab it on sparingly with your fingertips or a fine sponge brush that has been squeezed until nearly dry. Cover all parts of the paper that have ink on them. It is important not to use too much transfer liquid, so always blot with a paper towel immediately after applying.
8. Next, burnish with a burnishing tool of choice, a metal burnisher, the bowl of a teaspoon, or the edge of a bone folder. Start in the center and work your way to the edges. Do not use heavy pressure or you will gouge or distort the clay. Be thorough, and burnish over all of the paper. While burnishing, you will see the image fade away even more. Cover the whole area and spend time on the edges. This should take no more than one minute.
9. To remove the top layers of the paper, start in the center and use the pads of your fingertips. Roll the top layer of paper off the clay. Use a side-to-side or up-and-down motion. No circular rubbing. The paper will start rolling up from the clay into small, balled bits. Sometimes, if the piece is large or a vent is blowing on the piece, the transfer liquid dries too quickly and the paper is no longer damp. If this happens, dampen your fingertips with transfer liquid and continue to remove paper. Again, watch the amount of liquid you are putting on the clay, blot the excess with a paper towel, and allow the piece to dry slightly. Continuously applying too much transfer liquid will cause the transferred toner to feel tacky and smear or cause bubbles to appear in the clay during curing.
10. Gently brush away any loose lint and paper rolls from your clay. Do this frequently with a large soft bristle brush. This clears the work area of paper bits that can get stuck in and contaminate the clay.
11. To remove the last layer of lint and paper, slightly dampen your finger pads with the transfer liquid. Starting in the center of the image that has been revealed, use a circular motion to rub the lint and paper away. Some lint will remain, especially on very dark transfers. That is fine; a final cleaning will occur after curing.
12. Allow the image to air dry for a few minutes.
13. Do any final pattern cutting or trimming. Slightly dampen any section to be trimmed or cut with transfer liquid; the toner can crack slightly when dry.
14. Square any corners that need it.
15. After transferring the image, resist repeatedly touching the surface while completing other project steps before curing the clay. Your fingers can warm the surface and distort the clay or lift off some of the toner. The toner is initially embedded into the clay, but as it sits, it tends to rise on those containing a lot of dark toner.
16. Finish any steps required for your project and cure the clay as previously instructed.
17. Remove the clay from the oven and tile to cool.
18. The last bit of lint can now be removed from the transfer by wetting the surface with water and rubbing with a lint-free towel in a circular motion.
References
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