Modern Tintypes Plus Mixed media AdditionS/archival PIGMENT transfers on aluminum panel by christine ellinghaUsen

The most exciting developments with my current works on aluminum panel is the addition of mixed media elements. These materials expand design possibilities and freely intertwine with my digital photography and painting.

The DASS ART™ Transfer Films and DASS ART WonderSauce™ transfer solutions are compatible with numerous studio materials, which I combine for their interactions and visual effects.

Studio experience will help integrate what you learn from the books and workshops. It will lead you into expanding your own design dreams. You can not read about how these things work, you must paint your way into developing your own images.

Mixed media ©2015

Because these new materials, created by Bonny Lhotka, respect the personal workflow of the individual artist, you simply can keep on working!

Applying transfers is just the beginning!

Rather than accomplishing all the design either in camera, as did traditional silver based photography or in digital development software, the newest DASS ART™ systems allow you to physically continue the creative processes. You can work on an image with both additive and subtractive methods -- applying images to the surface or removing them in increments, then continuing the development until you achieve your desired result. The beauty of this is that you are inventing original integrations with all kinds of images and on all kinds of substrates!

5 transferred images, inks, graphite and paints on stone paper, ©2016.

Black Foil

Another interesting substrate material is Rosco Matte Black Cinefoil™ which is used by photographers to direct photo lights. It has a luxurious surface and is the color of graphite. It is particularly grand when used with the white and tinted WonderSauces.

Left to right: Development of an image, multiple transfers and materials layered on Rosco Ciniefoil™. Amber-gray tinted WonderSauce was also used.
The medium toned bottom image Is less reactive than the higher contrast top image.

The use of WonderSauce White, the opaque transfer solution, can leave great artifacts when applied over the black foil. High contrast images with negative space work best if you desire to see these random responses. Consider editing out fussy backgrounds with the PS eraser, to see how these spontaneous marks can appear. When you use a lighter exposure as a background, the WonderSauce White does not create as many artifacts.

Bird Love, ©2015

Tinting WonderSauce White to an amber -gray color can closely approximate the look of vintage traditional wet plate tintypes, especially when sepia exposure settings are chosen. Full colored images can also work well with the tinted sauces. So many choices to experiment with! But this will be previewed in a separate Slate story!

White and tinted WonderSauces were used on this portrait.

Inks, paints and graphite can combine and be worked in as with any mixed media work.

Small Talk, ©2015

Above: Multiple images were transferred in a variety of opacities and sizes. Colored and black and white images were used-- the higher the contrast and saturation, the more the graphic power. The above includes both clear, white and tinted WonderSauces.

All kinds of sprays and inks can become great backgrounds, but they must be extremely smooth and be without any bumps or edges that would disrupt the application of additional transfers. Airbrushed backgrounds must be done with permanent inks that are tested for good adhesion. All material used needs to be water resistant. "Trust but verify " all media! That includes any top glaze varnishes.

Rock Man 2# ©2015

Drawing can be done directly on the transfer film prior to application --it will resist the adhesion (white grid on face). The original cooked patina plate can still be seen, but the additional materials and techniques make a simple portrait anything but straight forward.

The original selphie is a reflection in mirrored tile.
Mixed media,©2016, graphite, multiple transfers and paints.

The base DIBOND® plate was painted with tinted ZINSSER BIN® primer and then dried for several days before continuing the building of the image. Care must be taken when washing the residual emulsion from additional transfers so as not to disturb the previous images. There are many techniques to learn and experiment with to accomplish a creative build up. These are taught in advanced workshops where creatives bring their own images to build their original work.

Up the Stairs, on matte black foil, ©2016

The matte black foil is a great material, but it is delicate to handle if it is not adhered on a substrate that can be submersed in water .The mounting film or pressure sensitive adhesive can be applied to the base substrate and the foil carefully rolled on the surface. Acrylic or aluminum precut panels both are good choices for mounting the foil. The matte black foil can also be dry mounted to other metal panels, or by using the product called, Competition Plate™, made by Kool Tack. The advantage of this materal is that the heat reactive adhesive is pre-sprayed on the plate and it comes in a super sized 48"x 96" sheets. Larger plates can be dry mounted in sections, from the center outwards, to avoid trapping air. DREAM BIG!! Matte black foil is available in a variety of widths. 12", 24" and 36". The unique response of the tinted WonderSauce white and clear is worth the time invested in making a custom substrate. This smooth velvet graphite colored surface is simply divine. It sets the final creation apart from others work.


Transfers on art glass, the kind used in the stained glass world, can be interesting with the addition of mixed media. Used with toned WonderSauces, it is fantastic! This is a totally new system will be previewed in advanced workshops in 2016 taught by Christine.

Girl on Fire, ©2016, flow patterned art glass. The image is applied to the smooth back of this textured glass.


6 transfers, mixed media ©2015

Brushing any media over images is best with a soft bristle brush. Thicker paints are best only on the top layer or in areas where additional transfers will not be applied. Any fabrics, found objects and ephemera attached to your composition is best applied after all transfers and washing has been accomplished. Again, trust but verify glues for permanent adhesion.

Contact me, for upcoming workshops, both beginning and advanced DASS ART system :

Test all mixed media materials for compatibility and results! Follow all these exciting developments on my Facebook site! Christine Ellinghausen

All DASS ART products are owned and developed by Bonny Lhotka, DASS LLC and are available on And now at Freestyle Photographic Supplies. Her books include: Digital Alchemy, The Last Layer, and Hacking the Digital Print. They are available from

SuperSauce™, WonderSauce™, DASS ART™, DASSologist™, Universal Precoat™, and the DASS ART logo are trademarks of the DASS, LLC.

Christine Ellinghausen is an independent artist who teaches workshop using the DASS ART products along with traditional and unconventional art materials.

©2016 Christine Ellinghausen All Rights Reserved

In my previous incarnation I was a ceramic artist, exhibiting for 17 years all over the United States. These are a few which I am in the process of finishing. The abstract nature of the clay constructions is furthered by abstract brush work with underglaze, slips ,stains, and engobes. Their graphic qualities have certainly influenced my current 2D work as a printmaker and photographer. All the clay work was either wheel thrown or hand built and was each a 1/1. No two were ever alike. So they were very much like mono prints , in that way. The transition to using photographic transfers and the painting has been a terrific experience... It is my new home, and I love it! Can certainly see that my work will become larger and larger in scale, and I intend to incorporate these new systems into 5-6' free standing mixed media sculptures as well! AND WHY NOT! Sincere thanks to all . CE

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