Experiments with layering paper date back to the invention of the papermaking process in China around 200 BC. It later appears in Japanese prints and poems, in the gilded works of Medieval Europe, and gained popularity in the collage work of Georges Braque and Pablo Picasso in the 20th century. These experiments with layers of paints and glazes over collage elements and gluing on found objects create dimension that blurs the line between traditional painting and sculpture.

Image transfers began to appear in the 50s and 60s and at first were done with harsh chemicals and solvents, but many safe alternatives are available today. Colorless blending markers, acrylic mediums and a variety of glues can be used to transfer or apply photocopies, newspapers, magazines, drawings and cut paper. Shapes and images can be made from textured or colored paper to add interest and depth to a piece and any type of paint or drawing medium can be included over, under and around your applied images. Acrylic transfers can be layered on top of one another to create stunning translucent collage effects.

The options with layering are limitless and only experimentation can establish what works for you. Your mistakes will be as valuable to the learning process as your successes, so don't be afraid to try it all.

Click here to see the unique combinations of cut paper and painting by this month's spotlight artist Nate Wragg.

This piece was created by transferring images with acrylic medium, click here for instructions. 

There are many ways to transfer an image onto a canvas or other surface, here we'll show you two methods using acrylic gel medium. As acrylic medium dries it bonds to whatever molecules it can find, in this case it will bond to the ink or toner in photocopies and other printed materials, leaving a lasting acrylic image behind.

What You'll Need:

• Acrylic Gel Medium (Gloss or Matte)
• Paintbrush (Flat or Bright)
• Printmaking Baren or Roller
• Photocopies, Color Prints or Newspaper and Magazine Images
• A surface to Transfer on to (Canvas, Artist Panel, Wood)
• A container of water
• A sponge (optional)

Direct Transfer:

With the direct transfer method you will be placing your photocopied image onto your surface, this will give you a mirror image, so if you have text that you want to remain legible it's best to flip the image before printing it using Photoshop or another program. Start by putting a thin layer of acrylic gel medium onto your photocopy. Too much will cause the image to slip around and too little will prevent the image from transferring. You want to use just enough to make the surface tacky. Now, lay it face down on your surface (we've chosen an artist panel).

You'll need to smooth out any lumps of medium and create a nice solid contact between your board and photocopy. We're using a printmaking brayer, but a baren is also effective and can apply a great deal more pressure. If you dont have either of these, the back of a spoon or other smooth tool will work (make sure its smooth, you don't want it sticking to the paper as it may cause your image to shift). Allow the medium to dry for 10-15 minutes then peel back a corner to see if the image has transfered. If some of the image has not transfered and the medium is still wet, flatten it back down and wait an additional 10-15 minutes.

Now it's time to remove the excess paper from your canvas. When the paper is gone only the image should be left behind. Take a drop of water on your fingertip and gently rub away the paper, your image should begin to appear darker and more pronounced. For this step some like to use a sponge to remove the paper, but using your finger allows you to really feel when the paper is gone and only the surface of your canvas or panel remains.

Now that all the paper is removed you can see the image transfered onto your surface. Here is where you can have some fun with additonal layers of acrylic paint (if your an oil painter you can paint over the acrylic medium just as easily, but you won't be able to adhere any more acrylic transfers). We're going to add a little color to this map, first with a layer of blue violet (ultramarine + alizarin crimson) mixed with a hearty amount of our gel medium (for added translucence).

An additional layer of burnt sienna (in this case, a watery glaze) adds a nice earth tone and now we're ready to move on to the next style of transfer. We'll be putting this transfer right over top of our current image.

Acrylic Image Transfer:

This time we'll use a color image. This is a color copy, but magazine images work just as well. Coat your image with your gel medium, at least three coats, allowing time to dry in between. The first horizontal, the second vertical and the third on a diagonal, this will prevent gaps in your acrylic. Allow it to dry for at least four hours, giving the medium ample time to soak up the ink. *You can get as thick as you want to create a textured surface, but it will extend drying time and you may have to wait a day or two before you can continue your transfer.* When your medium is completely dry soak your image in luke warm water for 20-30 minutes.

Remove the image from it's bath and lay it out on wax paper and paper towels. After all that soaking your image may appear milky, don't worry, as it dries the medium will become clear again. Turn the image over and you should be able to peel off the paper. Check a small piece to make sure it's working. If the paper is not coming off you may need to return it to the bath.

Lay the image face down on the wax paper and roll the excess paper off the back. As it dries you may see remnants of paper begin to reappear. You can take a drop of water and rub it away (similar to what we did with the direct transfer). Now that all the paper is off it's time to allow your image to dry before adding it to your canvas. Layer it between sheets of wax paper and paper towels and place something flat and heavy on it (we're using a few copies of our favorite periodical, the 2008 Utrecht Resource Guide).

Once dry, you can trim your image and apply it to your canvas or panel. Apply a thin layer of medium to the area of the panel where you're placing the image. When you're satisfied with the positioning add another coat over top to create a tight seal. When the medium dries you can see the great translucent effect this gives to your work. You can add as many layers of images, glazes and medium as you want and you can paint right over top. Feel free to experiment!

The rich layers of gouache, acrylic and cut paper on artist and animation designer Nate Wragg's canvases tell a unique story... Heavily influenced by 1950's animation design and modern/abstract art, Nate loves the stories and characters inherent in animation, and at the same time, loves the questions that modern and abstract art ask.

Nate studied art and character animation at CAL ARTS in Los Angeles, California before accepting internships with the James Baxter Animation Studio in Pasadena, and in the in the art department at Pixar.  After his internships Nate joined Pixar as a full time production artist to work on Ratatouille.  He worked on all aspects of the film, including background props and small set designs as well as artwork for the marketing team, but Nate's most recognizable work on the film was the end title sequence. This outstanding work led to his illustrating the children's book for the film, and leading the production design for the short film on the DVD titled 'Your Friend the Rat.' 

Nate is currently working on Toy Story 3 as a character designer and is making his way into the art gallery and publishing scene.  He collaborated on the 'The Ancient Book of Myth and War' in 2007 and released the book with a gallery show in LA. Subsequently he's been working on more book projects and has shown his work in a few other galleries, most notably, the New York Society of Illustrators gallery show earlier this year.

You can see more of Nate's work here.