Summary
(general info ... easiest methods ... most-common techniques ...clays + backgrounds...
heating ...fixing bare spots... finishes ...not wasting paper/ink ...places to use transfers)
Photocopiers, laser (toner-based) + regular paper
....B&W copier ....gen. info.
........variables, tips ...misc.
........translucent clays, "encased" (transfer covered with transl.clay)
......."faux enamel" (metallic background behind transfer)
....... "etching" tech's (ripped, leaving depressed lines)
....Laser printers & laser copiers (toner) --b&w (& color)
....Color copies & copier (or laser)
........water as solvent (or alcohol, booze)
Transfer papers
.....T-shirt transfer papers
.........decals (opaque transfers)
.........ink-only (transparent transfers, mostly)
.......suppliers & brands
.......Lazertran brand (5 diff. types )
.......More types of transfer paper --decal & printer (Invent It)... bought tattoos, decals
Transfer liquids
....Non-liquid clay mediums (decals and/or direct)
.......acrylics (Varathane, acrylic gel mediums, etc
..........using vinegar-ed paper)
....... packing tape + photocopy
.......clear embossing powder (melted)...decoupage
....Liquid Clays
......summary of methods for decal + direct transfers with liq.clays, materials, variables
......brands & types of liquid clay
......tips for best results & ink-toner release
......basic instructions (decal + direct transers)
..........(summary.....attaching decals...bubbles, brushstrokes
.......... getting the paper off --soaking, not soaking ...more tips)
......papers (& inks)
.........matte, glossy,coated, magazine pgs., transfer papers ...transparencies
......layers + other media
Magazine pages + other Slick papers (EASIEST) ...also blank slick paper
....with liquid clay (to transfer images from magazines, etc.)
... no liquid clay (slick papers alone, used just as release paper for other inks, etc.)
......rubberstamped ink, inkjet ink .....transparency sheets
Pastels, chalks, dust
.....(+ "encased photo transfers")
Colored Pencils (& graphite pencils )
Colored markers & inks
Rubberstamped images
Newspaper images, comics
Even more ways & solvents to transfer inks & toners off
Misc. re transferring
Image sources & clip art
Books, Video tapes
More Websites
(screenprinting & photopolymer texture plates moved to Paints)

TRANSFERS onto Polymer Clay

Summary

General Info

There are many ways to transfer images onto polymer clay!!... and different combinations of materials and techniques that will work!! Transfers are great fun!
...however, it can be quite confusing to sort out all the methods from each other, and I haven't really successfully done that... so, just take all this for whatever you can get out of it!!

IF YOU'RE NEW to doing transfers, it may be best to just pick one method (depending on the effect you want, b&w or color for example, and what materials you can get) and stick with that one for awhile to work out the kinks.
OR:
..try one of the EASIEST methods of transferring first... some of the more foolproof methods are:
.......transfer from a magazine page (see Magazine below)
.......decal-type transfer using t-shirt transfer paper for dark fabrics (see T- Shirt Transfer Paper > Decal)
.......direct transfer of a toner-based image using water as the solvent (see Copiers & Lasers > Water as Solvent )
.......transfer made with different "mediums" (see Non-Liquid Clay Mediums)

PLEASE NOTE: Because there are so many variables for creating a successful transfer with many of these techniques (and so many different ways to transfer!), making transfers in the beginning can often require trial and error and time .... then, all of a sudden...it works!
(...transfers can be simple though once a particular set of variables is found and some people luck into a perfect combination of factors right from the beginning)
.....the techniques I have tried all basically work... they just need to be fine-tuned to the way I work. ...took me lots of failures to figure out. Don't give up... Valerie
...Seth's listing of many of variables that go into making transfers
http://www.polymerclaycentral.com/cyclopedia/transfer_variable.html

Images can be transferred from:
...various types of copies (from copiers or printers) or from other already-printed images (like clay-coated magazine pages), or from other media like colored pencil markings, etc
....these may or may not involve using special papers or certain types of regular or photo paper, or transfer liquids.

Also, some transfer techniques will involve "direct" transfers to clay (where the image is first transferred to a photocopy or special transfer paper, and then to raw or baked clay)
...........or the image may be directly transferrable already (as from clay-coated magazine pages, or materials like soft colored pencils, etc.)
...and some techniques will lift and trap the image in a flexible "decal" and which can be then applied to clay (or to other materials)
(........clear packing tape and water can be used to make simple color or bw transfers, but don't know if they can be baked)
(........direct application of pattern and color through a fine mesh screen will also be discussed here as a "transfer" method)

MOST-COMMONLY-USED TECHNIQUES
--photocopier (producing b&w images, or color--harder?) or laser printer/copier --both of which use toner (directly onto sheets of clay....usually light-colored clay, but if onto translucent clay, can use the other side so image is not reversed and there is a thin layer of translucent protecting the image)
......(you can make a photocopy of something you’d previously created using your printer in order to use this method)
......(photocopies can also be used with liquid clays, but inkjet prints and special papers are more often used then)
......."etched" transfers (using regular photocopier image, similar to #1...but using both positive & "tear-away", coloring, etc.)
--inkjet printers onto special t-shirt transfer papers or Lazertran papers ...color or b&w images
.....or inkjet printers with special inkjet papers and transfer liquids like liquid clays (...inkjet on plain paper will make a light image if left in contact overnight, or possibly transfer the black areas well if the print is very very fresh, still wet).
.........also without a printer, images created on t-shirt transfer paper by markers, cayons, rubberstamping, etc. will also transfer
........ buy these papers at large office supply stores--cost is around $16 for ten sheets .........the resulting image must then be transferred again to clay or to liquid clay decals
--transfer liquids (some lift images from most any printed material to create a decal)
.......liquid clays (with b&w photocopies, color copies, laser printes/copies, ink jet images on various matte/glossy papers, magazine pages, etc.)
.............note that the term Liquid Sculpey (LS or TLS) below, could usually refer to any brand of liquid clay
--transfer-type papers (preprinted tattoos.. or inkjet printer images on special papers)
--silk screening & PhotoEz (using a fine, stretched mesh, then forcing paint through it) (masked, or stencil) or & polymer plates
............cannot use the new pigment-based printer inks for these

MORE techniques
--magazine images, or images on slick papers & gift wrap? (to clay, and LS, and transfer liquids?)
--newspaper images & comics (direct or transfer liquids)
--rubberstamped images using permanent ink (direct, transfer liquids, or t-shirt transfer paper)
--pastels, chalks...esp."encased" with translucent clay (dusted onto clay, painted w/ water, transferred), (or transfer liquids?)
--colored pencils, crayons, graphite pencils --Prismacolor brand best --draw directly on baked clay, or "color in" a photocopy as if it were a coloring book on t-shirt transfer paper then transfer (to clay, LS, or transfer liquids), or color in a transfer on raw clay.
--colored markers -color in baked transfers with permanent markers, or transfer from t-shirt transfer paper to raw clay

PAPERS
The type and characteristics of the paper used in printers or photocopiers can be critical to success! For the "best" types of paper to use for a particular technique, look on this page under:
......that technique's particular sub-category
......Papers & Inks subcategory (under the Liquid Clay)
......Transfer Papers and More Transfer Papers subcategories

CLAYS
Transfers are usually put over white clay, but they can also be put over other colors as well (... transfers may not be easily visible on a dark clay color though).
...for light colors besides white, be aware that the clay color underneath the transfer will affect the appearance since transfers are usually transparent
.......using a brownish light color (ecru, ivory, etc) can create a softer more antique look (or also gold or brownish clay + a b/w image, etc)
...Kato .....Kato Polyclay takes photocopies very well
.......Kato Polyclay may have the whitest white (and definitely stays white after baking), so a transfer over it will be brightest
............ I use Kato clay for my whites because it doesn't discolor with heat as much as Premo white during baking (but "enclosed baking" should help that)
.......Kato can also be rolled out much thinner (without sticking to the pasta machine), so you can get very thin layers of clay. Jan
.......Kato Polyclay may also release the paper more easily than brands with more tooth because its density gives it a very smooth surface.
.......However, I use an iron to do the transfer and then put it in the oven to finish. When I used Kato this way, it was very difficult to get a good "black transfer" (?) because the lettering generally came out blue instead, and it took a few minutes to get the tranfer to take.
...I tried that iron + oven technique with Premo just for kicks, and in seconds instead of minutes I had a nice "black" transfer. The Premo t ook the transfer much faster and the coloring stayed true. It seems that different clays react differently to the transfer process. Dawn S
....Sculpey III has a little bit more porous surface to it though (more tooth), so I like to use it to transfer on and also for adding color with colored pencils after it's baked. .. Syndee
........ White Sculpey III is the clay that Gwen Gibson suggests we use when we want to do her tear-off etching technique.
........ White Premo has some of the same qualities and I've found that if often will etch instead of just transfer.
....Studio by Sculpey ...a laser (toner) worked great on this clay... thought it did even better than my previous transfer choice, Premo! Angela
....translucent clays can have images transferred to them also (and then may be used with the ink side down since the clay background will be translucent and can see image through it
......but translucent clays (particularly Premo's bleached translucent) are sometimes more finicky to transfer to.

SPECIAL BACKGROUNDS (under-behind transfers) ...can add interest and complexity if they don't overwhelm or compete with the transfer image too much:
..over Skinner blends... or other marbled or multi-tinted clay
..over very fine visual "texture" (like light-colored, tone-on-tone cane slices, etc.)
..over mica clay (for some shine, and "color")
...... could also use mica effects such as ghost image, flattened twisted, etc
..over metallic leaf or metallic powders (for bright shine or pearliness with mica-based powders)
..... if using silver leaf or powder, no"color" will be added --but gold or copper, etc. would affect the "color" as well as the reflectiveness

MAKING TRANSFERS OPAQUE:
If the clay or surface you're transferring onto is dark colored, it will be harder to make your image show up well unless you:
--use liquid clay decal method (and color the liquid clay opaquely)
......color a clear liquid clay with white (or light) oil paint or white Pearl Ex or other white powders?, etc.,
......use the old, opaque verison of Liquid Sculpey (rather than TLS)
......use a light-colored Colored Liquid Sculpey, or Polyglo
--brush a layer of light-colored acrylic paint on the back of the decal (or on clay?)
--apply metallic leaf behind the transfer (on liquid clay or translucent clay)
--transfer your image onto a lighter clay first, making the color of the transfer's background the same color as your clay ...then add the transfer piece on top (or leave a lighter empty space for a direct transfer onto the piece itself).
--use an opaque version of t-shirt transfer paper (those "for use on dark fabrics"). Diane B.

HEATING (as transfer release helper)
...Btw, for transfers which require or do best heat, rather than using an oven or an embossing gun, you can also use a hot iron of some type to help the ink transfer ...place a sheet of paper or parchment between the iron and the transfer. .....This will completely or partially bake the clay though if it's not baked already, so be aware of that. It's probably not suitable for any transfer areas that aren't flat also.
...susheke uses t-shirt transfer paper and an iron press

COLORING b/w transfers
Black and white transfers can be colored, or colored in coloring-book style, or tinted in various ways (may also work on liquid clay decals).
...see Paints and Letters/Inks > Inks , for many possibilities like paints, tinted liquid clays, alcohol-based inks, chalks and metallic powders, etc.
... also D'UVA ChromaCoal Powders ...a plastic powder pigment which can be applied, then heat-fused, to clay or decal transfer
http://www.lithocoal.com/gallery/houston37.shtml (see more in Powders > Plastic Powders)

BARE SPOTS in transfers
henever I have a transfer that comes out with a bit missing here or there, I always touch up with some acrylic paint or with a very tiny bit of Pinata ink of the right color. Works great
........then I use a glaze overtop, several coats... sand lightly... then use the 0000 steel wool for a lustrous finish. Dotty

FINISHES
There are several ways to give a shine to transfers; however, it isn't necessary unless they need smoothing or unless you want a shine
(a coat of any finish after the final baking will make the colors of the transfer brighten up).
..liquid clays.....
...If you coat it very thinly with (TLS) Translucent Liquid Sculpey ....you may be able to just buff it... but if it's thicker you'll have to sand it pretty well before buffing. It's rather difficult to sand, but once it's done you'll have a nice finish.
...Kato liquid clay bakes up very shiny so it doesn't need further treatment... also Fimo Gel liquid clay.
... Varathane (or Future, or other acrylic liquid sealers?):
......My favorite way is to give it at least 3 coats of Varathane. It only takes a minute or less. Let it dry between coats. Then wet sand it lightly with a 400 and 600 sandpaper.. . . .For a shine, buff it.
........for a lovely velvety sheen, go over the transfer (esp. when the ink side of the image is on the outside) with 2 coats of Flecto's Varathane (satin), drying thoroughly between coats, and then go over it quicky with a piece of 0000 steel wool . ...also if you work the Varathane into every area, it helps hide any dips etc. Dotty
...... I use Varathane over hand-drawn images because I've had trouble with TLS or thin translucent clay (they smear?)..... I've found that this takes less time and is much easier than trying to do either of the others...I also think it looks nicer. Dotty
........may be long term problems with fading or color changes when using only one layer of Varathane though?
.....I coated the my waterslide transfer pins with a couple of coats of Future and let dry overnight.... next day when I turned them over to bake a pinback on, most stuck to the bottom of my foil pan... I also tried this without Future first, and same thing ... do they hafta be coated with liquid clay? Kim K.
....... for a water slide decal, you could create the background without the transfer, add the pinback and bake (then add the decal and Future sealer ...this way you don't have to bake again. ...or place the pin on polyester stuffing in a disposable aluminum pan to bake. Patty B.
.....or bake pin and pinback (right side up) on a piece of cardboard with a small rectangle cut out of it (see Jewelry > Pinbacks)
... very thin layer of translucent clay over the transfer... bake, then sand and buff ... gives a softened image though (see Barbara's lesson below in "Misc.re Transferring" and in "Faux Enamel"...and in Translucents > Thin Sheets)
...Another fun thing to do is to coat the surface of the transfer with Anita's Fragile Crackle for a crackle effect on top of the image..apply the two parts as directed, and let it sit until the next day; then rub burnt umber acrylic paint into the surface and wipe away the excess. You now have a wonderful "old" crackled transfer. Dotty in CA

DON'T WASTE ...PAPER or INK
Since many of the special papers can be expensive (t-shirt transfer papers, Lazertran, tattoo, and some photo quality ones), put as many
...or, to use partial sheets of any paper:
........I print the image first on regular paper for placement image... then I tape a smaller piece of the paper I want to use over that image (only on the side to be fed in), and run it through the printer again. Judy S. (remember, the paper must feed into the printer upside down)
...or, since I don't want to waste too much ink for a "placement" image (especially for larger images, and more expensive papers), I plan to make that placement image with:
........"draft" option ....or "lowest quality" ......or b&w option
....... or by selecting the "line drawing" feature or something similar in my photoeditor, then printing that image instead
...............(in my Photo Elements, the best selection may be Filters>Stylize>Trace Contours... then Enhance>Color>Remove Color ...don't forget to use the original image when printing on the real paper tho!)
........or by stopping the printer after it's printed only a line or two (can be a hassle sometimes to reset mine tho'...)
........or by forgetting the placement image, and just selecting the upper right or upper left corner to print the image, then using a bit larger piece of good paper than I might otherwise (which should at least give me a lot more than I'd get from one page before)
............or just print anywhere at top of the page, then cut off remaining paper horizontally and evenly just beneath it, and use remaining paper again

PLACES TO USE transfers
....jewelry (pendants, pins, bracelets, earrings, etc.), when covering with clay (Altoid tins, wooden boxes), ornaments (freestanding-framed=-embelliished, or perhaps on clear glass balls, Halloween-themed or maybe planets or bedroom images on glow-in-dark liquid clay or backed wtih gitd clay, or anywhere!
.....I use my old photographs in shadow boxes. ... then put in the box anything that relates to the picture (old jewelry, books, anything (made from polymer... ). szaftoo
....frames can be used for placing transfers on cards, scrapbooks, etc.
http://www.michaels.com/art/online/projectsheet?pid=23046
...for using transfers to add to freestanding photo cutouts of bodies (or anything), see Kids > Other Items)
....You can also transfer a printed image of your own polymer clay creation onto fabric
(for a quilt... or onto a t-shirt-sweatshirt, tote bag, napkin, pocket, etc.)
...one example http://www.omodtart.com/treasures/canvasbags.html ...gone?

TONER-based images
(b&w + color)

B & W photocopiers or laser printers

(b&w images can also be printed onto t-shirt transfer paper or Lazertran paper which are usually used for c olor images,
.......or created with decals or liquid transfer mediums such as liquid clays--see Liquid Clays below and other sub-categories)

gen. info

NOTE:
Many of the following techniques will also apply to color prints made in photocopiers and laser printers since they both use toner (rather than "ink"), though colored photocopies on regular paper may be a bit lighter when used for direct transfers
....so also see below in Colored Photocopies and Laser Prints for more

BASIC LESSON ...(on opaque clay)
--make a b&w photocopy on a b&w or color copier (or laser) of your photo/drawing/whatever (actually, make several copies just in case one messes up--you will need one photocopy for EACH transfer you wish to do); make sure the photocopy is reasonably dark and strong
--condition a light-colored piece of clay and flatten it (on a surface which can be baked in the oven if doesn't need to be moved later); try washing your hands first to remove any oil which might resist the transfer --press the ink side of the photocopy onto the clay, and burnish well with your fingers, back of a spoon, etc. (don't let it slide around though)...
(--you can at this point lay something heavy and smooth like a huge book on top of the paper to weight it and maintain good contact between ink and clay)
--wait 10-20 minutes (or longer) ....then peel back ONE corner of the paper to be sure the image has transferred
--when it has transferred you can remove the paper and bake the item (some people leave the transfer on for 6 hrs or more)
HELPERS... to help the toner release:
...you can add heat to the process by baking 5-15 minutes with the paper still on, remove the paper, and finish the total baking time --see just below)
...OR you can use a solvent during the waiting time (e.g., water or alcohol of some kind), perhaps in several passes
(----if there a re any small, incompletely transferred areas when you remove the paper, you can fill them in with acrylics --watered-down, if necessary-- or black/gray colored pencil.)

partial bake to help transfer
For either type of copy (laser or photocopier) I use a 5-minute method that works for me every time (assuming I follow the process exactly right.)
......Roll out your clay and place it onto the same surface you'll be using to bake the piece (this is an important step! you don't want to move the clay after you burnish the transfer onto it!) PREHEAT your oven to the correct temperature.
.....Cut out your transfer (either from a laser printer or from a copier) and place it face down onto the clay.
.....Burnish the back of the transfer with a smooth object such as a paper maker's burnisher, the dull edge of a dinner knife, popcycle stick, etc. ("burnishing" means to rub over the piece carefully to insure that every bit of the transfer is pressed against the clay. Any place where the paper does not come in contact with the clay will leave a blank spot. Press just enough to adhere the transfer but not so hard you dig into the clay.... Go over it several times.)
.....Place the baking surface into the preheated oven (do not pick the clay up!) and bake 5 minutes.
....Remove the paper slowly and carefully ...then continue baking the clay for the required time. Dotty

long exposure + soaking method:
... the toner and clay will fuse if you leave the photocopied paper on the clay for more than 20 mins or so
....... you can take advantage of this to get a really dark transfer where every scrap of the toner will stick to the clay ...and it's completely opaque
.........the transferred image will even be a bit elevated above the surface of the clay. .....I learned this from Kathy Amt
(lesson):
....leave the photocopy and the clay together overnight ... then bake (paper and clay)
....then soak them in water (how long?)
....peel and roll all the paper pulp off

solvent "helpers" for transferring image off paper (plain water, rubbing alcohol, cheap gin)
..many people now feel plain water works well... but see more below in "Water, alcohol, booze as solvents" on all types

liquid clays will also act as "solvents" to help transfer images (to clay or other surfaces like fabric... or just to itself yielding a thin, flexible decal)
...FOR ALL THAT INFO, see below in Liquid Clays

Try running the clay through thru pasta machine actually with the photocopy for good contact ... it should roll right on.

CLAYS: (see above in Summary for all info on which clays work "best"
... and also options for varying the background behind b/w transfers)

Lasers will generally give blacker blacks (and possibly crisper edges) than photocopiers.

Rebecca (Beckah) suggests using a color photocopier for b&w images as well as for color ones, considering their images more "stable"

variables and tips

Transfers can be simple after you figure out a method that works with your materials and tools, and for a pariticular technique, but sometimes unexplained things happen just because there are so many variables for each.... you may have to experiimetn and making changees (switch clay colors, photocopy machines, paper, or as Lynn says, just hold your tongue a special way and try, try again :-))..DB

TEST the copier: I took the advice of several other clayers and check out copiers by taking a piece of freshly conditioned clay with me, making a copy on each available copier, and putting a piece of each printed paper on the clay - the good ones will start to transfer pretty quickly. . .

some possible problems with getting a successful transfer might be:
--not using a dark enough photocopy (which leaves more ink on the paper to transfer)... perhaps the level of toner in the copier is low (which you might not be able to tell)
--toner mixture may include too little graphite (or carbon, etc.??)... try a diff. machine
--using a ink jet print (on regular paper), rather than a toner-based photocopy
--using absorbent bond paper (too high a quality?) for the photocopy, which doesn't release the ink as well as a slicker paper
--not burnishing it well enough to the clay (many people put a book on top after burnishing)
--getting too much oil from your fingers on the surface of the clay, which acts as a resist
--clay is too dry (try adding more diluent, or using a softer, "wetter" clay)
......if the clay is too soft or sticky though, it may cause the toner to bond too strongly to the clay and stick to it (see "etching")---using Premo's "bleached" translucent clay (may be more problematic
--doing it in a place that's too cool (or with too much/too little? humidity) ...or the clay is too cool
--not leaving it on the right amount of time

It is critical to find the correct b&w copier... older copiers tend to work better than newer ones. I have found that Canon and Minolta are most likely to give good results. This is not a no fail solution, as the toner is the important factor. Some people do not use the toner of the maufacturer (Canon/Minolta) because it can be quite expensive. Instead, they use a "generic"... Susan
....I have an old Canon 400 series and I love it for transfers
...the cheaper the copier, the cheaper the toner mix they use, and the more plain carbon that is in it..
...the older the copier/printer is, the more likely it is that the toner will release (remember those old copies that stuck together after a few years? and the way copies used to always transfer onto your plastic covered 3 ring binders?) so the older machines that you can find in supermarkets and quickee stores will most often give you the best release - the downside is that their print quality is often sucky.
...thanks for the tip on purchasing the replacement cartridges on Ebay. ...Are the ones you get new? or reconditioned/refilled? Karen FL
...(not drying even after hours) ...I've found that certain types of toner cause this problem . The toner reacts with the clay. My laser printer toner does this. It won't "set" until it's baked. A number of copy shop copiers also use this type of toner. It seems as if more and more of them are. . .
. . . Because of this, I don't put a pin back on a piece until the second baking, and I do my transfer on a fairly thin sheet of clay . . .which I bake first and then set it into a piece of raw clay and then do the adornment in and around it and bake again. DottyinCA

Heat or warmth evidently speeds up the transfer process
....the suggestion was to place the photocopy, face down, on top of the clay and put a Friendly Clay Warmer on top of it..... supposedly get an excellent transfer in about 15 minutes.
...I believe Tory Hughes even bakes her copy on the clay in order to transfer it.

I agree about the heavier bond paper...the heavier the paper, the tighter the weave, and the more ink stays on top of the paper (doesn't sink in)... Karen FL
.....I have been told by many people that copies made on recycled paper don't work as well as first-run paper. I have made wonderful copies from heavy [24lb or 30lb HammerHill] smoothly finished paper... and also glossy paper [clay coated] that came in a Paper Direct sample pack. I'm not sure I'd spend the $$$ but they were wonderful transfers.
.. (another opinion)....She also said that it is not neccesarily the toner or the developer but the paper that makes the difference. To get a good sharp image, you want to use the cheapest paper you can find (??????). It seems the nicer paper (smoother, with a finer "grain") wants to hold onto the toner, while a cheap rougher piece is perfectly willing to let go of its toner. (backwards??)
......I also tried stuff copied onto transparency stock and ended up with gross stringy toner all over the place. Blech!!!
... printer ink may work okay though (using Transparency option), then pressing but not rubbing

...if you leave the paper on the clay for more than about 20 mi utes -- the toner and clay fuse. . .however, you can take advantage of this to get a really dark transfer:
... .I leave them together overnight ... then bake the transfer with the paper and clay stuck together,.... then I soak and wash off the paper -- soak it, then peel and roll all the paper pulp off. Every scrap of the toner is stuck to the clay; it's even a bit raised above the surface, and it's completely opaque. I learned this from Kathy Amt.

I've heard somewhere that if you gently sand it, it will look tinted -- either brownish or bluish, depending on the brand -- but I haven't tried that. Georgia Sargeant

I brushed a thin layer of Sculpey Diluent onto the surface of the clay and left my transfers (plain black and white) on for varying amounts of time (though it's easy to smudge the print with this method, so don't move it!).. . .it seemed to have something to do with how 'wet' the transfer was.
The samples with only a little diluent, or that were left on longer, were crisper images. .the ones with most diluent had the least definition.
..BUT, the wetter ones could stretch with no problems (the nicer images were harder to stretch without cracking).
.....those all lightened when stretched, of course, but you knew that from Silly Putty, right? :)

lots of us have had the same problem with the photocopied lines bonding to the clay then pulling the clay up & etching it instead of transferring.
... It could be your clay if you are using Sculpey III (it's one clay that Gwen Gibson actually recommends for her "tear off" transfers that actually etch the clay because the toner pulls the clay off where ever it touches the clay. This is a wonderful technique, but not the one you are looking for however)
..... Also, if whatever clay you are using is very soft, it could cause the same thing to happen also. . . here is something to try. Use the firmest clay you can find. Maybe an old package from Michael's which usually has it's stuff on their shelves for some time. Let your transfer sit for several days. Then try the transfer technique again.
....I used Premo Bleached translucent and it clay stuck horribly to the transfer.-- I was using kinko photocopies and I also let the copy sit for a few days...Helen
. . . Also, it could be the toner or level of toner (used in the photocopier). You can go to Kinko's or any copyshop and try theirs. Some work much better than others.. . . Dotty

I've sometimes had a really hard time transferring to translucent clay!
...Poor you,I know exactly how you feel....I recently did some "encased" transfers and had NO trouble whatsoever with 3 of them, but the last 2 were horrors! I used copies done on an old toner type copier and Premo bleached translucent, and normally just need to rub a little rubbing alcohol on to them to get perfect transfers.
....The fourth one however...a day or so later just would not transfer.... I tried fresh copies, darkened the copy level, used rubbing alcohol plus methylated spirits...did everything I could think of to no avail. It was SO annoying because I was doing exactly the same procedure each time. I finally got the fourth image to transfer by using rubbing alcohol, metho AND some liquid from my container of moist towelettes (and lots of cursing)<G>...I did have to draw over some of the lines with a black pen but it wasn't too bad.
.... The fifth one was just impossible..no matter what I did it wouldn't transfer. In the end I thought I'd check on the amount of toner in the copier and it was very low...so I added some more and was finally able to get a somewhat reasonable copy. I'm not sure if adding the toner made the difference or not....before adding it I was still getting good copies of other documents so who knows.....it could be lots of factors including weather conditions..but Low Toner Levels might be worth adding to our list of Transfer Troubleshooting Ideas! Jenny
....I had the exact same thing happen to me when using the Premo bleached translucent. Helen

(see more on types of clay and variables under Etched Transfers below)

misc

(before transferring to solid or liquid clay) you can also color in your b&w image with colored pencils, or even crayons and the colors will transfer also. Dotty
(see below in Colored Pencils)

(after transferring) syndee holt's demo on painting with alcohol inks on a transfer?, coloring book style
http://www.sdpcg.org/sc8album22.html (click on each)

syndee earlier lesson on coloring in a "sketched"-looking image in b&w which began as a photograph
http://www.sculpey.com/Projects/projects_tintedphoto.htm
. . .in this instance, she used a digital photo (but a regular photo could be scanned into the computer as well), then using her photoediting software created a b&w version of it which looks hand-sketched using either the Sketch, Charcoal, or Drawing command. etc. She then made a photocopy of the image, transferred it to raw clay, colored in the image with dull colored pencils, and baked.
. . .she likes Durwent pencils for their flesh colors (she also uses rubbing alcohol on a cotton ball to saturate the paper from the back after burnishing; she then reburnishes to remove any air bubbles, lets dry, then reapplies alcohol before removing transfer--the black lines will be very dark and larger with this method (see also Boozy Transfer section above)

To give the photo the look of an old photo, try using ecru or gold clay (with a b&w image). Dotty
...or use a coloring pencil method

transfers of snapshots of individuals used as tags or book pages or something...

I bought some Sculpy III which was really easy to work with, rolled it out into a rectangle. Used my ink-jet printer to print out photos of my grandkids (then made a b&w photocopy of it from the neighborhood copy place). Placed photocopy face down on rectangle of polymer clay, placed this between two pieces of cardboard and weighted with a book overnight. When I get up in the morning I will trim edges with decorative cutter, put small hole in center top for hanging the ornament and bake according to directions on package. Sure hope it works! Nancy

Donna has a wonderful method that works great also for working on curved surfaces. That is to put the transfer onto clay and let it sit for about 15 minutes . . . . . do the transfer flat, then lift the clay and apply it to a curved or rounded surface. Great for tube type of beads (see in Websites)
...You just have to be careful when handing the raw clay with the transfer already on it as it can smear. However, if you use Sculpey III, the toner may pull the clay with it when you remove the transfer. ..Dotty
...I've done curved transfers with an ace bandage.... Put the clay around your bottle--I used a cardboard tube instead, but same thing. Place the paper with the artwork/words picture side down against the clay, burnish in place with your finger or knife handle,etc, then wrap tightly with the ace bandage to hold the paper in place. I baked with it on, then unwrapped. Sarajane

I need to do (some special) lettering. I would do photo transfers with words, but becasue some of the colors of the clay will be dark, they won't show up at all. Therefore, gel pens...?? I need the lettering in specific fonts though, so my own writing wouldn't cut it. ...There is a slight *sheen* to the photo transfer words so I'm hoping to do a transfer, and then just go over the words with a gel pen? The sheen should let me see it ok, even if the clay is black. ( and then I can do any color I choose!) Jeanette

translucent clay transfers ("encased" transfers) & finishes

(image will be viewed through the translucent clay --so image will actually be on back side... this will also keep the image from being reversed)

There are various ways to put a finish over the transfer if you want one (see above in Finishes)
... when these first came out, one of the most popular ways was to use an extremely thin layer of translucent clay over the transfer:
...I love transfering photocopied images to white or light colored clay and then covering it with a very thin layer of translucent. I use this technique on many of my vessels, beads, and amulets.
.......Having taken a class from Kathleen Dustin on layering translucents I can tell you that she sparsely sprinkles glitter or powder on half of a very thin layer of translucent clay (she uses Sculpey III translucent, unconditioned, and rolled through only once). She then folds the other half over and runs it through the pasta machine once to thin it out again (for inclusions inside the clay). ...She then uses it like an applique on top of her base layer which is Sculpey III white (used for its white chalky surface) (colored with colored pencils? or over a colored transfer?). jannh1
.....I roll a thin sheet of transluscent, sometimes with embossing powder or Pearl-Ex inclusions. . . .
..When it's cooled, I also color the back side, so the colors show through the translucent, and through the inclusions. . . ..Sometimes I'll have done a regular photocopy transfer onto the front.
..............To use the sheet, I generally put it on a backing of more transluscent clay.
....Barbara McGuire's lesson on transferring to white clay for 30 min - 2 hrs., then putting a very thin layer of translucent on top of the transferred image before using it, so it doesn't smear and is protected . . .though the image will be softer . . . ...(she puts her transfer-plus-translucent sheet onto white cores of clay to make sort-of cylindrical beads and bracelets --will need to be sanded and buffed for most clarity?)
http://www.hgtv.com/hgtv/cr_beads/article/0,,HGTV_3229_1396722,00.html http://hgtv.com/HGTV/project/0,1158,CRHO_project_27246,FF.html

transfers "encased" with translucent clay:
1. .... If images made with chalks on paper (or with colored-in photocopies) are transferred onto very thin translucent clay, (and applied upside-down, usually to a clay backing), then after baking the images will be viewed through the translucent clay (and the image will no longer be reversed)
............Donna Kato’s lesson on an "encased" b&w transfer made on very thin sheet of translucent clay, then colored in with "decorator" chalks or (chalk?) pastels... the transferred image is turned over and used so that the image is viewed through the thin layer of translucent (which also un-reverses the image)...hers was backed with a sheet of a gold-leaf-crackled-on-black (hardly visible in photo)...then covers a base bead with it
http://www.hgtv.com/hgtv/cr_clay_other/article/0,,HGTV_3239_1375725,00.html
(lesson:)…she does a regular (b&w) transferonto very thin, raw translucent clay sheet (let sit for about 15 min --possibly brushing the paper back with alcohol or waterless hand cleaner to expedite...Fago)
.....then colors in the b&w transfer on the clay by carefully brushing with the chalk or chalk pastels
.....backing ...she backs her clay transfer with a sheet of black clay topped with crackled gold leaf, as with "faux enamel" (transfer side to crackle side)
.........I think I crackled my gold foil a bit too much, however. If it were left in larger pieces the colors on mine would have popped more. Dotty in CA
.....she presses together lightly, then puts through pasta machine on thick setting... can enlarge and spread pattern, continue with past machine on thinner settings).
........when I saw Donna Kato doing encased transfers on HGTV, she smoothed down the forward edge of the (translucent) sheet with her finger so that it started through the pasta rollers evenly..... I wasn't being careful about that and it makes a difference. Jody

To make an transferred image that is not a reversed image, transfer onto a very thin sheet of translucent clay, then apply that to the finished product with the transfer side down --Kathleen Dustin's technique
...Jeanette's lesson on a transferring and image onto very thin sheet of translucent clay
http://www.sunnisan.com/jeanette/tutes/transfer2.html )
(....see "faux enamel below for using this technique but also backing the image with metallic leaf)

I also like to spinkle glitter, metal foils, or thin cane slices to the underside of the translucent to add yet another dimension. lala

Barbara McGuire's lesson on using the Shapelet to make a brooch with transfer, covered with translucent clay
http://www.hgtv.com/hgtv/cr_clay_jewelry/article/0,,HGTV_3238_1386303,00.html

Jeanette's lesson on using Shapelets to cut out the transfer (made on translucent)
http://www.sunnisan.com/jeanette/tutes/transfer3.html
.....(see more on Shapelets as well as making your own stencil and template shapes in Cutters)

(for transfers "encased" with liquid clay, see below in Liquid Clays)

"Faux Enamel"
...transfers with metallic backgrounds...

These are b&w images which are transferred onto translucent clay then backed with metallic leaf (as a background behind the image)
(...the images can be colored with colored pencils though to simulate color images)
...or the same effect can be done more easily with liquid clay transfers (see below)

The technique was first published Gwen Gibson's Ancient Images video
....Karen Sexton's faux enamel pins ... http://www.mhpcg.org/clayDays/claydays99/mar99/march99.html

thin sheet of translucent covering a photocopied image (colored with colored pencils) onto translucent clay ....amber wash (op)... backed with leaf... baked and buffed http://www.lapidaryjournal.com/jj/jun01jj.cfm)
(lesson)...Photocopy a b&w (not grey tones) image.
Color it with colored pencils
Roll a sheet of transparent (Fimo?) clay (rolled @#7, sandwiched between waxed paper)... or use any translucent
Remove one wax paper, and stick photocopy to clay.... rub to ensure good contact
Bake (wax paper, clay, photocopy)......... peel off waxed papers.
Apply glue to image side, and apply gold leaf
Back with white clay (use Sobo)
Bake; Wet sand to 1200; can sand edge to generate even white border. –Flint

" faux enamel "--transfer will be on back side of translucent clay; Gwen Gibson http://www.lapidaryjournal.com/jj/jun01jj.cfm
...transfer a b&w photocopied image to translucent clay which is sitting on waxed paper (she leaves it 6 hrs)... paint with an amber wash on front... turn image over onto a sheet of white clay which has crackled leaf on it (for her, the surface is stretched into a dome before it's baked). . . . Hers is sanded and buffed (this is the non-image side of the translucent clay sheet, remember), then framed with clay rope extruded from a clay gun which she covers in gold leaf (see more on using thin translucent sheets for this in Translucents > Thin Sheets)
...also http://www.mindstorm-inc.com/pages/vid/pc05.html (5 min. clip of Ancient Images video, showing Gwen making her very thin translucent clay sheet in the pasta machine with waxed paper ...see Translucents > Thin Sheets for more on this technique); . . . she also cuts an oval stencil and uses it to cut out a clip art paper image before coloring it in with colored pencils and transferring that to the translucent sheet --need to have, or install there, MacromediaFlash to view)

An easier way to back an (b&w or color) image with metal leaf is by using liquid clay for the transfer rather than translucent clay (see many details below in Liquid Clay)
. .Oh wow! Just got my Transparet Liquid Sculpey and I tried doing a transfer with it so that I would have a very thin sheet backing the transfer. It worked perfectly! This is something you need to do when making Gwen Gibson's Faux Enamel. Much easier than trying to roll out clay on the thinnest setting, even using wax paper. Just this one thing alone makes getting the liquid worth it!! Dotty
... two dandy shortcuts when doing the "faux enamel" technique Gwen Gibson demostrates on her new video. Instead of using translucent clay, create the polymer image with TLS. . . . Instead of using glue/adhesive to adhere foil to the back, use more TLS ...and bake a second time. Carol Overmeyer
...The transparent liguid clay is great when you want to see through the layer, like with Gwen Gibson's techniques (like faux enamel)

over a metallic background
...I think the pebbly look you're referring to is the look of the crackled silver leaf behind the transfer.... I took the idea from Gwen Gibson's "Faux Enamel" look and I really like it with the TLS. It shows through beautifully and makes the colors of the colored pencils really vibrant, I think. Julia
......
...Jeanette's lesson on making a transfer on translucent clay backed with metallic foil ..(Jones Tones).. rather than with leaf
http://www.sunnisan.com/jeanette/tutes/transfer1.html
...Instead of metallic leaf or foil, other colorings could be used for the backing/background
........I roll a thin sheet of transluscent, sometimes with embossing powder or Pearl-Ex inclusions in it (and bake)
........ when it's cooled, I color the back side , so the colors show through the transluscent and the inclusions....(Sometimes I'll have done a regular photocopy transfer onto the front.) ...To use the sheet, I generally put it on a backing of more translucent clay.

etched
("tear away", "ripped" transfers")

a black and white, toner image is (always?) used for this technique....
(but could use a b&w image printed either on a or color copier...or copy shop laser machine or laser printer?)

Gwen Gibson showed that the toner which is deposited onto the photocopies made in photocopy machines will actually bond with the clay to some degree over a short time (especially with heat, and when using soft clays)
...burnish the photocopy onto the clay first....
...(firmly & quickly) peel (rip) the photocopy from the raw clay...the photocopy will take with it any clay which had contact with the toner, rather than transferring it to the clay ....(if you gently lift the paper, you'lll see "taffy threads" of sticky toner stretching between the photocopy and clay ...if you don't have the "taffy threads" then it won't work and you've either left it on too long or too short a time.)
This process creates 2 usable pieces:
1. a clay sheet with a lightly etched (depressed) image on it
2. a ripped-off photocopy image with slightly raised clay clinging to the toner lines (or areas)

The etched clay sheet can then have its depressions colored to bring out the etched lines more strongly
... the colored etched clay sheet may resemble scrimshaw if it's "antiqued" with brown paint

The ripped off photocopy can be used as a gluable paper decal
....or it can be used after baking as a printing plate for printing onto paper with etching inks or paints (more in Carving >Etching?)

I've found that heat has something to do with successful etching ....
....temperature is a BIG factor ...the clay needs to be "sticky" (think about it and it's obvious), so to get sticky clay, we warm it and/or add softeners to it, right?
... I put Fimo samples under a light (actually under 2 lights) ...one ordinary light which gives off a lot of heat and another one, halogen, which is cooler. I also did a sample without any heat source. ...the light that gives off most heat produced better results after 5-7 minutes
....After brayering my paper onto the clay real tight, I use a heat gun (or hair dryer) on the paper to warm up the clay - just till clay and paper feel BARELY warm (any hotter and the toner will melt instead of melding with the clay),.then I let it sit for 15 min. ...then warm it again, and let it sit another 15 min.
......as soon as I can see the clay beginning to stick to the ink, I rip it off . Carolyn

Following Gwen's instructions exactly, I, too, had a good etch, even using the "special" toner for the Xerox digital copiers (?). After adjusting my timing a little with the hair dryer (40 seconds on the 2nd dryer time instead of 20), the etching was darned near perfect. ...Cheryl:

Use only strong, dark, line images for your photocopies with this technique, since grays won't have enough toner on them to bond well with the clay.
.....you need a nice, crisp, black and white image for this technique... ...older copiers may make the best copies for this?
......also, you must have a very fresh copy (not true for some?). Best the same day it's made (true only for laser copies?). Dotty

Also, the better and heavier the paper, the better the transfer. So I use Great White photo paper, in a matte finish.
....this is a 37 lb. weight paper..because of its weight, the paper holds more ink so I get a better 'etching'. Carolyn
...I am having trouble with the paper ripping when I yank it off the sheet of polymer clay
....…it is possible your paper is too thin..the cheaper the paper, the more it absorbs the ink before you can transfer it..Karen FL

If the paper is ripped off too fast, the clay may tear
If the paper is ripped off too slowly, the clay may not stick well to the toner.

It might be best to use a thick sheet of clay for the etching process (thicker than #1)

Sculpey III is the one clay that Gwen Gibson uses for her "Tear Off" transfers that actually etches the clay because the toner pulls the clay off wherever it touches the clay... or a softer clay.
.......any bright color like Fimo 'mint' works well..... pearlescent Sculpey is good .Gwen
...I'm not really sure how Gwen does hers, but I came up with my own "tear away" technique before I heard it was a technique, and I used Fimo. LynnDel
....I've tried the tear-away technique with Premo gold, pearl and pearl mixed with other colors with excellent results. Diane V.
...... Premo will work just fine with a few tweaks. . . the softer, opaque colors work best, and they work even better if you mix some white in with them. Wire4Clay2
.......when using (Premo), after burnishing the paper onto the clay, use a heat gun for just a few seconds to adhere the clay to the paper. This was recommended by Linda in WA

see below in "Using the ripped-off paper(with clay image)" for using (or creating) a mostly black photocopy with white image ... and how to invert the colors

Gwen's Ancient Images video cover, and explanations of her various techniques
(gone) , but this one okay for cover http://www.gwengibson.com/video.htm

BASIC DIRECTIONS:
--Fold up (away from ink) a small corner tab of the paper (which you will need to pull the paper off later).
--Put the paper onto the clay (face down and leaving the folded corner sticking up) and burnish it with a bone folder, wide spoon, etc.
--Leave it on for about 5 minutes (Dotty says 30 min... Gwen now says 15 min after heating with dryer as above, then repeat heating and waiting)
--Grab the corner that is sticking up from the clay and QUICKLY RIP IT OFF (sideways).

using the etched clay sheet-slab

(Follow basic directions above for applying the photocopy, heating/resting, and ripping off the paper)
--Now you bake the clay piece, and let it cool (can color in depressions).
--Sand and buff.

To bring out the engraved image, Gwen squeegees on oil paint (she doesn't use acrylic- the oil falls into the grooves much better). You can just squeeze on some oil paint, rub it gently into the engraving (Burnt umber is a good color to use).
....using a cardboard, or the chisel end of one of those clay shaper tools, remove the excess paint from the surface (you want the paint to be only in the grooves).
...Rebake for about 10 minutes if using oil paint to set it.
...if you can't get all the excess paint off the surface, sand very gently rub with extra extra fine steel wool (or fine sandpaper, then buff)

I rub in burnt umber acrylic paint (to define the etched areas) ...Dotty CA
....Gwen does use primarily oil paints...but they are messier...harder to cleanup. And somebody else said they had some "clay degradation" with oil paint. Quite frankly, I spend enough time on my stuff to NOT want to lose it...so I'm sticking with acrylic paints. Jodie
...for the gold/silver/copper paints though, Gwen used acrylics.

I use a tightly packed brush to work oil paint into some of the crevices... and then wipe paint off areas I don't want paint on with a wet paper towel corner!
...and remove the excess with a towel or paper towel

If black or dark clay is used, white paint can also be used to fill in the etched lines ("negative etch" ... a "positive" etch uses white clay as the background for the image).

For an additional effect which will give the image a very soft-color & luminous look, (after delineating the lines with dark paint), you can also take very tiny dots of oil paint and rub them into various areas where you would like some color. Let it get into the etched crevices.... Then use a soft terry towel to rub off the excess.... buff up a soft shine with the towel....re-bake the piece for five minutes to set the oil paint. (You can always go back and add more paint here and there... you just want a hint of the colors). Dotty CA

Varying the background clay can be interesting too... e.g., using marbled clays, mica clays, etc., or using over faux ivory

using embossing powder on the etched lines (Linda Goff actually started me off on this)
... Using a fresh photocopy and a nice flat piece of clay, burnish the photocopy onto the clay as you would normally for a copier type transfer. You want to time the transfer, leaving it on for no longer than two hours and no less than an hour and a half. I suggest you leave it on for the longer time the first time so that you can see what I mean.
...Gently pull off the transfer (you will see "taffy threads" of sticky toner stretching between the photocopy and your clay pad. ...if you don't have the "taffy threads" then it won't work and you've either left it on too long or too short a time.)
....sprinkle embossing powder on the etched clay- just tons of it (don't worry, the excess will be put back)
....using a soft paint brush, "sweep" off the excess.... Bake as you normally would.
...You will see that the sticky toner holds the embossing powder, the raw clay does NOT. (the image you transfer will be embossed permanently once you have baked it). Meredith

The etched clay you get after doing the Gibson technique is a great base for a polymer postcard too
...(I usually start my postcards with a sheet of multi-colored clay run through the pasta machine on the next to thickest setting, then decorate like crazy with cane slices, mokume-gane, metallic leaf and powders, copier or magazine transfers and tons of texture from carving, decorative and text stamps and press-on texture like cloth....) Linda Goff

This can be a great way for creating lettering too.

If you are making jewelry, for instance, carefully trim it, mount it on some other clay backing and decorate or embellish to suit you, careful not to disturb the etching and once baked you can rub the smallest amount of oil paint into the grooves of the baked etched part then wipe clean so the oil paints only seep into the tiny cracks. .....the look does resemble fine etching. Karen FL

using the ripped-off paper (with thin clay image)

(Follow basic directions above for applying the photocopy, heating/resting, and ripping off the paper)
...After pulling the paper off the raw clay (as above), we baked the PAPER for 15 min. at 250-260
...we cut or tore the clay paper to the sizes we wanted
...we then used Sobo glue to apply them to a baked clay backing sheet...and finished it as we pleased.

I use the clay-paper image. I've been using Premo for this. The metallics seem to work best;
...translucents and Premo's "Base" don't work at all.
...gold is ok with white mixed in it also, maybe about 1/4 white to 3/4 gold.

Then I bake the clay paper for only 1 minute at 275 in the preheated convection oven. Any longer and the clay burns and darkens. Then use the clay paper just like you'd use clay paper with any other type of clay on it .

This can be a great way for creating lettering too.

(to color any white areas) ... after baking it, we soaked the clay paper a little in water, and while wet applied acrylic paint to the paper side of the transfer so the colors came through in the places where the clay did not stick
--after it was dry, we then glued it to baked clay

Linda Goff's pins (made by brayering a reverse laser print onto clay, baking the paper afterwards with a very thin layer of clay stuck to it, and painting the figure from behind with acrylic paints here and there --looks a bit like scratch art
http://www.lindagoff.com/collage.html
Linda's nightlights, same technique with more of the paint showing through ... clay paper glued to sheets of translucent clay
http://www.lindagoff.com/ntlights.html

The photocopy can also be largely black background, with a white image (rather than largely white w/ black image as normal)... this will result in much more clay area transferring to the photocopy (acting as a colored background), and in the image being white (because it had no toner to hold on to the clay)
...... one of Gwen's suggestions was to draw the original on black paper with a silver pen.... then make your photocopy.
...if you have an image (drawn, digital or photocopied) you'd like to reverse (from black-on-white to white-on-black), try doing that in your computer by using one of the tools in photoediting software
........ e.g., in my Adobe Elements, that would be the menu bar at the top: Image > Adjustments > Invert --ctrl+I (capital i)... if it's necessary to remove all color first, in Elements menu bar: Enhance > Color > Remove Color --shft+ctrl+U
...I have art software that permits you to draw white on black...
...your local photocopy shop can make negatives on the color photocopy machine

If the clay used for the ripped-off paper was multi-colored, Skinner blended, marbled, etc., the toner areas will be multicolored as well
....if the photocopy was largely black, lots of the multi-color clay will be transferred to the photocopy (as a background)
Gwen Gibson's "collage technique" using some clay papers with multicolored backgrounds... light colored images are not white tho (oil painted?)
http://www.gwengibson.com/gallery/evolve-1995.htm and http://www.gwengibson.com/gallery/evolve-1996.htm

Another thing I do... after I've baked the paper with the clay on it, I use that as a "stamp" (just for clay? or paper too?) ...it works rather well. Dianna
.... I saw some prints made with the tear away etching technique and was impressed. Details came out great.

LASER printers & copiers (b&w and color)

I've used my laser printer for the past six years for making black and white transfers. For me it's much easier than running out to the copy shop all the time. ...Both the laser printer (and laser copier) and the photocopier use powdered (toner). Dotty

(copier or printer?) . . . About lasers vs copyshop copies: some laser toner has that purplish look rather than flat black.... however, some copy shop toner does this also. ..... try other copy shops and see if their copies work better if you have that problem.

I recently tried using laser to transfer an image onto white fimo. The image came out very light. (color laser or b&w though?)
. ..When using the laser printer, try adjusting your copy for a darker print (usually done in your graphics program)
...that means more toner is applied and the heavier coating tends to look more black..... When my toner cartridge ran out the last time I sent for a refilled one instead of getting an Epson one. The new toner is blacker than the Epson toner was. Dotty

COLOR photocopier or laser printer/copier

Color and b&w photocopiers and laser copiers and printers all use toner rather than "ink."

Toner often transfers off its carrier easier than ink will, but it seems that color copies don't geneally work as well as b&w copies unless special transfer papers or helpers (like liquid clay, acrylic mediums, Varathane, etc.) are used with them to make them transfer fully.

...a color photocopy from a copy shop will actually transfer if directly laid on the clay and burnished, but usually not too well)
.....if you bake it with the transfer on the clay, it will transfer, but will usually be quite pale
.....and, if you let it sit on raw clay for some time, when you take it off it will often "lift" the clay in the area where the toner is --like Gwen Gibson's "etching" technique...see more below on that tech). Dotty

(many of the following techniques will also apply to b&w prints made in photocopiers or laser)

Color transfers can be made in various ways:
....with a color photocopy (directly to clay with liquid clay helper, or making a separate decal with liquid clay, etc.)
.......or with a color laser print or copy (...same tech's as photocopy, or better?)
..those can be more expensive and/or less convenient than these ways:
....with a color inkjet print (only onto special papers) ..then directly to clay, or making a decal
... with a b&w photocopy which has been colored with colored pencils, etc., before doing the transfer
(see relevant sub-category on this page for details on most of these... most of the b&w copier techniques above will also work for color photocopies as wel)

Btw, transfers from toner copies (color or b&w) can also be made onto clear packaging tape, and give a very good reproduction with glossy finish:
(see info and lesson below in Non-Liquid Clay Mediums > packing tape)

water as solvent ...(or previously, booze, alcohol)

THIS MAY BE THE EASIEST METHOD ...FOR A DIRECT TRANSFER
(though the image will be reversed if a photocopy unless it's reversed somehow, or use a laser print which can be reversed)
Plain water works great to help release images from a toner-based image (photocopy or laser print) (b&w or color)
...using a direct transfer
...no alcohol, no gin, not even distilled water, just plain tap water..... and the color is great. Jacqueline G.
Donna Kato's lesson on Jacqueline's process ... she recommends going slowly when get close to the image
http://web.mac.com/donna_kato/Site/Inkjet_Transfers.html
Jacquelines' lesson:
.....lay the print face down on a sheet of polyclay and burnish down with a spoon or paper folder
.....then paint water on the paper ...make sure the paper is soaked and burnish again
.... do this a few times (don't worry if the back paper starts to pill )
.... with the paper very wet, pull it off the image on the polyclay
... you'll have to rub some of the paper off with your finger tip until it's all clean (don't worry about rubbing the image off...it won't come up, only the paper will). ....Then trim... and bake.
(the process is the same as the alcohol and gin transfers.... just don't need those materials since water works just as well and it's cheaper. :-) Jacqueline
...(this opinion seems to be shared by lots of other people now too)

(the following no longer used as much)

I used rubbing alcohol for the transfer medium on my color copier print and it worked pretty well, although I can see that a medium that lets the paper stay damp for a bit longer would be more successful. Jacqueline
...Ann M's lesson on making b & w photocopy transfer with rubbing alcohol and burnishing
... lay sheet of med. thickness clay on small piece of waxed or other paper ... place photocopy face down on clay...brush back of photocopy with alcohol (using paintbrush)... burnish... dry.... then repeat with alcohol, but peel off photocopy while still wet
http://www.hgtv.com/hgtv/crafting/article/0,1789,HGTV_3352_201376
...Syndee's technique is to burnish the back of the transfer on the clay... saturate the back of the image with a cotton ball and rubbing alcohol ... reburnish to remove any air bubbles... let dry... reapply alcohol before removing transfer (copier or ink jet?)
...Jeanette's lesson on making a transfer using rubbing alcohol (71%)
http://www.sunnisan.com/jeanette/tutes/transfer1.html (click on NEXT)
...Maribel's lesson on using alcohol to transfer lettering from a b&w laser print, but rubbing alcohol on back of paper just a bit firmly, then removing
http://www.abalorios.net/aba/om/fimo/letras.htm

boozy transfer ...the alcohol seems to help embed the colored toner from the print into the clay (better than what though?), so that when you wet and rub off the paper, it stays in place and doesn't smear easily.
...you can transfer onto raw clay, or onto baked clay
(lesson) --have your image copied on a color copy machine (at a copy shop)
--lay it face down onto your clay, and then burnish it well.
--brush on the booze, pat the transfer, then blot it with a paper towel.
--burnish again, then brush more booze on it . . . let it sit for a bit
--then begin rubbing the paper off with your finger...if it's too dry, dip your finger in more booze and continue rubbing in circles until you remove all of the paper you can without disturbing the image.
--After baking, if there is still a bit of paper on the surface, soak it in water, and rub it off.
I demoed this technique at Sandy Camp several years ago. It's been around for a long time. I didn't use it in my transfer video way back when because I was afraid that some people might not like the idea of drinking alcohol.
. . . {LATER tho'. . . I'm not now a fan of the gin transfer however. It's a very old technique that has been around for about ten years. I've experimented with both Gin and Vodka as well as other alcholic beverages, various forms of rubbing and other alcohols, and did a number of demos and classes that I called "The Boozy Transfer" four or five years ago.
....What I don't like about that method is the paper rubbing...you have to be careful rubbing or you can rub some toner off along with the paper. Dotty
...Rebecca's lesson on her way of using gin (her "Transfer Liquid") to transfer photocopies from a color photocopier or laser printer
.....she rubs the back of transfer on the clay with fingers... after 30 sec's, covers the back with cheap gin, then blots with paper towel... burnishes with spoon about 20 sec's ....rubs paper off by rolling from center outward (don't rub too hard)... can remove any remaining lint with fingers just dampened slightly with gin if needed ... bake (colors will darken during baking)...cool. (may need to re-color any spots where ink was rubbed off with alcohol-based pens) ...she seals with acrylic sealer (add bit of watercolor to tint sealer first, if desiered)
http://www.hgtv.com/hgtv/crafting/article/0,1789,HGTV_3352_1399715,00.html
http://www.bearingbeads.com/ts101%20gin%20transfer%20technique.htm (gone)
.......she feels higher quality copier papers and cheaper brands of gin work best (keeps the image on top of the paper rather than saturated into in somewhat)...the paper comes off layer by layer
.....if you want the background opaque, she suggests mixing Omni Gel (see her website) with a metallic powder and painting it on the back, or using acrylic paint.
...cheap gin is not as distilled as the good gin, which makes it more effective. Robin S.

acetone alone can also be used to lift the toner from a photocopy onto a sheet of shrink plastic, so it might work as well on baked clay (which is also plastic)... be sure though that the acetone is completely gone before heating, of course
http://www.hgtv.com/hgtv/cda/article_print/0,1983,HGTV_3352_1382666_ARTICLE-DETAIL-PRINT,00.html

One solvent I really must try is that aerosol stuff for removing self-adhesive labels' slime - it seems to be a perfect combination of wetters and volatile solvents
...it may also be worth adding a little of it to an alcohol and see if it improves its efficiency of transfer. Alan V.

Diluent can be used, but may be easier to smear so don't move after burnishing

TRANSFER PAPERS
(these include: "T-shirt" papers, Lazertan papers, & Decal papers for tattoos, & Misc.)

Transfer papers can either transfer their images directly to clay,
or they can be used to create a removable decal which can then be placed on clay.
Transfer papers can also be used with liquid clays (directly or decal... see "Liquid Clays" below for much more)

inkjet_transfers (a Yahoogroup) ...great source of information on transfers of all kinds, not just inkjet.. check out archives or ask questions.
http://groups.yahoo.com/group/inkjet_transfers

"T-SHIRT" transfer paper

T-shirt transfer paper can be purchased at office supply stores, Walmart/etc., sometimes craft stores or fabric stores, and online
...they are more expensive than some of the other papers & techniques used for transferring, often $1-1.50 per sheet (but less than Lazertran papers at $2).
...see above in Summary for ways to save paper ( "Don't Waste Paper or Ink")

Images are usually placed onto the t-shirt transfer paper with an inkjet printer
... the image can then either be transferred directly to raw clay (or baked clay)
..........or be used with liquid clay or other transfer liquid to create a decal
....or some t-shirt transfer papers can be used to create a decal (those for "dark" fabrics, Inkjet Lazertran Textile Dark, etc.)

There are at least a couple of types of t-shirt transfer paper:
...regular transfer papers ("for light fabrics") create transparent image transfers comprised of ink-only
...... the types of paper we've mostly used for polymer clay in the past; best on light colored backgrounds; printed in correct orientation
...opaque transfer papers ("for dark fabrics") create opaque images which are decals (to be placed onto clay separately)
......can use on dark or light backgrounds, must print in correct orientation

Other slick, clay-coated papers can work like t-shirt transfer papers sometimes too:
...blank brochure paper.... some special glossy or matte papers for inkjet printers
...when not using liquid clay, even pre-printed magazine pages, catalog pages, some ads in the mail printed on these types of papers, and some types of gift wrap paper will work as release surfaces
(see below in Magazines,. Types of Papers, etc.)

WARNINGS
... Transfer papers for inkjet printers cannot be used in machines that use heat
(such as photocopiers, and printers that actually use toner instead of "inks", etc)...the hot platen will melt the plastic coating on the papers, gunk up and ruin those machines
....Companies that make t-shirt transfer papers are forever changing their formulas , so older or newer versions may work differently!

Decal transfers
using t-shirt transfer papers "for dark fabrics"

Transfer papers intended for use on dark fabrics will create an opaque transfer rather than a transparent one
....these yield "decals" which can be basically decoupaged onto polymer clay (...rather than having only the ink transfer into the clay as with the transfer papers intended for light fabrics)
LESSON:
...print image onto transfer paper with inkjet printer (ink will be embedded into a plastic carrier on the transfer paper)
........do not use printers which apply heat during printing (e.g., HP DeskJet 1200C or 1600C)
........best to use a printer setting for Photo Quality Paper, or Transfer Paper (or 360 dpi?)
...after printing, cut out around the exact edges of the image (so no "plastic" margin will show outside the image later)
...peel the image+carrier decal from its backing by making a small tear at one edge (no burnishing or heat required first)
...the image should be printed in the correct orientation --not reversed (...liquid clay decals, however, can be printed and used in either orientation because they're transparent)
...decals made from opaque transfer papers should be able to be put onto raw or baked clay since they're intended to be set on fabric with 350 F heat
...they probably need to be sealed to prevent wear on the image (which is on the surface), and to hold them down
.......could use an acrylic finish (Varathane, etc.), clear embossing powder, or an epoxy resin... or I assume even liquid clay if the object were later baked.
(see Liquid Clay Decals below)

All decal types of transfer will often have a discernible raised edge around it (as opposed to a transfer made onto the clay itself, or liquid clay pressed firmly, or Lazertran Silk).
To deal with this:
...use a frame around the edge (either on top or around the image, or use a slightly larger backing sheet to act as a framing element)
...make the decal reach over the sides of a backing element (bead, pendant shape, etc.) so that its raw edges aren't showing or so that it stops at the base of the backing element
...cut out and use as is, maybe coloring the edge
...or smooth the edges as Lynn K and Donna W suggest, by dusting cornstarch on your hands and the decaled item and gently rolling in your hand or just smoothing the edge with your fingers
.... would heat and pressing work to thin the edges?
....what about using turpentine to "melt" the edges? (Dotty had said this about using Lazertran Regular:. . .OR, you can coat the clay with turpentine, place the decal over it, and then coat the top of the decal with turpentine. The turp doesn't seem to hurt the clay, but it does melt the decal into the surface.... it's almost impossible to smooth or move afterwards though it as it begins to melt immediately.)
...sand and buff

...see more ideas and examples of covering the edge of transfers in Liquid Clay > Decals below
and in Frames-Mirrors > Small Frames

...one supplier of this type of paper says to heat in a well-ventilated area (at least for transferring at 350 F onto fabric).
6.... also to avoid water for at least 24 hours... do not dry clean (or use solvents?)... keep in closed package between uses, in cool/dry place.

(for suppliers, see below in Suppliers & Brands)

Ink-Only transfers
using t-shirt transfer papers "for light fabrcs"

These are the types of paper we've mostly used for polymer clay in the past
...this type of t-shirt transfer paper releases only ink into the clay (no decal)
... since these transfers will be transparent
........so best to put them on light-colored backgrounds
....... images must be printed onto the transfer paper in reverse if the correct orientation is desired later
...allow prints to dry well before using (30 min. or more)

The way inkjet T-shirt papers work is that they mimic the particle system of photocopiers by absorbing the dye ink onto tiny plastic beads, which are then transferred (released) onto cloth or clay. Alan V.
....the transferred images are waterproof, even though inkjet ink alone isn't

I've found that t-shirt transfer paper will also transfer almost anything put on it
.... for example, you can also use crayons, and colored marking pens, and rubber stamps (using any type of ink?), and a number of other materials to make marks or images on the paper (and they will transfer)... Dotty

I've done curved transfers with an ace bandage....
...Put the clay around your bottle--I used a cardboard tube instead, but same thing. Place the paper with the artwork/words picture side down against the clay, burnish in place with your finger or knife handle,etc... then wrap tightly with the ace bandage to hold the paper in place.... I baked with it on, then unwrapped. Sarajane
(see also transferring image to a tube bead below in "Direct transfer to raw clay --using glue, Diluent, etc., as helper?)

My transfers came out best when I baked with the transfer on the bottom
....and then used some tiles and weights on top of the tiles ....to ensure no movement during baking and removal (and to add pressure)..

(for suppliers, see below in Suppliers)

"Dotty's Picture Perfect…," Dotty McMillan -explanation plus pictures at:
http://www.polymerclaycentral.com/pcc/featured/mcmillanlesson.html
Dotty McMillan’s color photo transfer pins
http://www.polymerclaycentral.com/pcc/featured/mcmillan.html
Christel's color transfer pendant with framing
http://home.online.no/~raje/Polymer/ethnic/index.html
Parrish's transfers with frames (pendants) --Renaissance-look
http://www.parrishrelics.com/pictorial.html
Jenny Dowde's transfers with frames, for pendants
http://www4.tpgi.com.au/users/jdesigns/HTML/PolymerClay.htm

direct transfer to raw clay (no helpers)
(may not be quite as effective or reliable as using helpers, as in sub-categories below)

transferring from t-shirt transfer paper directly to clay
--Select an image to scan, or an image created --or already in-- your computer.
--Print the image onto "t-shirt transfer paper" --this is a special paper which is made for transferring images from a computer, to the paper, to fabric. It generally comes in a box of ten sheets for around $16, but check around for the best deal. HP paper (and the older Canon paper) both seem to work well; others may as well **. (You can have your image printed onto the paper at a copy shop as well, but you'll need to take your own transfer paper.)
--(don’t worry if the image on the paper appears a little dark or unlovely compared to the original image; it will brighten and clear up in the final step)
--Use white (or light-colored) clay to make a sheet or at least a flat area for the image to be placed on; put the clay on a rigid baking surface (so it can't be jostled on the way to the oven)
--Cut out the portion of the image you want to transfer
....you can leave some space around the image if the clay will be smaller than the image
....or cut exactly around the image; the paper will probably cause a small indention around the edges
-- leave a raised tab to help with removal if you want
--Place the image on the clay and burnish well on all parts.
--Put in a pre-heated oven (at the temp. recommended for your particular clay) and leave it for a few minutes (4-8?)
--Remove from the oven and carefully lift off the paper from one corner (I leave my finger on another corner, so that if any part of the image didn't transfer, I can replace and reburnish) --all of the color should have transferred off the paper onto the clay
--Put back in the oven (without the paper) and finish baking for the normal remainder of time
--Turn off the oven, and leave in till cooled.
-----if there are any small, incompletely transferred areas when you remove the paper, you can fill them in with acrylics (watered-down, if necessary) or colored pencils.
----you may want to consider getting an extra photocopy of your image if you go to a copy shop, just in case something happens with the first one???

heat + weight ...(for graphic b/w image of photographed faces onto a clay tile, as pendant)
.. print off (inkjet) image onto t-shirt transfer paper, then cut clay tile to the right size (can add a screw eye or eyepin through the top center of the tile now if want)
...place transfer paper on clay tile with image facing down, then put something somewhat heavy on top of the paper
...put in the oven (full baking temp for 15 min)......take out and peel the transfer paper backing off. sweetxnxlow

direct transfer to raw clay (using liquid clay as helper)

lessons (liquid clay + heat):
...(after printing on the t-shirt transfer paper), I cut out the printed images leaving a thin border (1/4-1/2" around each printed image)
...... I also cut out a 'tab' somewhere to use in peeling the paper away from the clay
...cut light-colored clay (could be the shape you want), and cover it with a thin layer of liquid clay
...lay transfer print on clay with the tab bent up toward you... rub back of transfer a bit
...bake at 265-275 F for 10 min ...let clay cool
....peel back the paper carefully (.. a few transfers don't 'take', but it's pretty rare)
....rebake the clay for the required amount of time to fully cure it
........I usually re-bake my items over and over because I bake at each step (if I add a border, or put it on another piece of clay, and so on).
...I also add a number of coats of Fimo Gel (Fimo's liquid clay)... very clear ..it adds amazing depth to the transfer.... I always finish my items with Future. Tess (why?..for more gloss?)

My first go with transfers was using t-shirt transfer paper from the computer shop. I printed out my stuff on my inkjet colour printer... Let the t-shirt transfer paper prints dry well
...lesson (this is a very quick and effective way of transferring from transfer paper):
..... I cut the printed inkjet images out, and then put a good splob of liqiud clay on the paper and sort of squeegeed it out with the side of an old credit card (make sure that it covers every bit of the transfer evenly and thinly...and there are no little dimples in it where the paper seems to resist the liquid clay sticking to it....but keep it as THIN as possible).
...Place the print face down on the clay....burnish it VERY well....and bake with paper intact
...Take it out of the oven.... and GENTLY peel back to see what you have.
...Then, trim off excess clay (while clay is still warm?... or use smaller clay than image).
With this way of doing it...you need to keep the liquid clay away from the blank edge of the paper which is resting on the clay... otherwise the whole lot will just peel off with your paper. Tania

(liquid clay + waiting... no heat)
...(2008 Avery t-shirt transfer paper) + liquid clay + Premo or Sculpey.... I have about 95% success rate with this method... works best with fresh prints; for older prints let sit longer
.... I have about 95% success rate with this method... works best with fresh prints; for older prints let sit longer
....spread a very thin layer of liquid clay onto the raw clay
... cut out transfer on transfer paper with a small margin around image.... place face down onto liquid-clay coated clay
....burnish lightly to make full contact, then WALK AWAY! ...wait 10 minutes or more
....burnish again, really well with your finger tip or even the edge of your nail.
......notice that the liquid clay has been absorbed (into the paper) and the paper is sticking well to the clay
... when you think you are done, burnish again
....slowly peel away (part of the) backing... the ink layer is now sticking to your clay
.......if you see any white spots (where the transfer wasn't complete), replace and burnish in...a tiny amount of additional liquid clay on the white spot may be needed... if there are any little flaws, scratch off the ink from the paper backing with a pin then place onto the tiny white spot tp patch it.
....cut out the clay to the final shape
....spread a very thin layer of liquid clay on the (transfer) surface .... bake. BlossomArts
.
(more lessons, info below in Liquid Clay)

direct transfer to raw clay (using glue, Diluent, etc., as helper?)

(on a curved surface) ...transfer technique on a tube bead
.... I used the t-shirt transfer paper and printed some blue and white designed wallpaper on it.
....rolled a thin sheet of white clay (#6 thickness on the pasta machine)
....then painted the surface with foil glue ("size" or "sizing"...could use tacky glue or regular white glue?)
.. . I used this on the white sheet of clay to make the transfer paper stick to it while rolling it on a knitting needle. (I noticed that the transfer paper sticks to the clay better when doing a cylindrical shape coz' normally the transfer paper is stiff enough to detach from the clay )
...When the glue was tacky, I put the transfer paper on top (face down), then burnished the piece.
... I turned/flipped over the sheet so that the clay is now on top....then i painted this side with the glue also.
....i covered a premade tube/cylinder of clay (still covering the knitting needle) with this sheet, making sure the edges met (cut out the extra clay but leave the extra transfer paper)...and taping the edge of the transfer paper in place with a tape.
...i baked it for 20 min., and while still warm, I took out the paper backing.
...The transfer paper left a slight texture.... to remove this,I baked it again to melt the residue (looks like plastic).
( While it was cool, I did a crackle finish on it to give it character and age, then antiqued it with burnt umber paint.)
Lastly, I covered it with a translucent sheet of clay (#7 setting),(...or you could use liquid clay instead), baked again
...(for gloss) then I sanded and buffed!.... I still have to cut this cylinder into 1 inch tubes... Tanya
(see Lazertran paper & other techniques)

Re the difficulty I had with the photo transfer technique... finally figured out my clay was too dry
......I ended up adding alot of Diluent-Softener, and baking the initial time (before removing the paper) for 20 min instead of 5-7.
(also functioned as helper?)

see also using acrylics like Varathane, acrylic mediums , fingernail polish, and also vinegared paper, etc., as helpers... below in Transfer Liquids )

decal (transparent or opaque)... using .liquid clay + t-shirt transfer paper

I have 100% sucess with this method of transferring (using regular t-shirt transfer paper --"for light fabrics")
lesson: .....cut the transfer out with a tab, but don't bend it up
.....cover t-shirt transfer paper with a thicker layer of liquid clay than you'd use for making a transfer directly onto clay
..........(do not cover the tab with liquid clay though, you'll use that to peel it back)
.....bake for no more than 10 min... let transfer cool ... peel paper off ... (place on clay? with more liquid clay)
.....rebake decal (and clay) for the full amount of time to ensure proper curing. Tess

(I also seal and add gloss) ....after the transfer is done and placed how I want it with whatever border I want, I add a number of coats of Fimo Gel (Fimo's liquid clay) on top (I don't use Fimo Gel on anything I'll have to sand, like transfers, but it's very clear for covering things you want protected ... and it adds amazing depth to the transfer).... I always finish my items with Future (why?.. adds more gloss?) Tesselene

This transfer method is great for flexible, tough bookmarks, and for putting on curved objects like glass votives... Tess

to hide or eliminate the raised edges of decals, see techniques above under Transfer Papers > T-Shirt Transfer Papers > Decal

If I want to put a (transparent) decal-type transfer onto dark clay,
...(after baking the transfer decal initially) I mix liquid clay with white oil paint or with white Pearl Ex
...then coat the *back* of the decal (I usually consider the side that *didn't* touch the paper to be the back, but you can choose) with a thin layer of this white liquid clay
...then rebake (making the back of the decal an opaque white will enable you to place it on the dark clay). Tess
(... or just use t-shirt transfer paper for dark fabrics for an opaque transfer)

direct transfer onto baked clay (heat + pressure only)

I