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  2. Find the Best Graphite Transfer Paper for Transferring Images

    www.aol.com/news/best-graphite-transfer-paper...

    Try using graphite transfer paper, a great tool for speeding up your art-making process. It works similarly to carbon paper but is made specifically for artists and designers. While carbon paper ...

  3. Tracing paper - Wikipedia

    en.wikipedia.org/wiki/Tracing_paper

    Tracing paper is paper made to have low opacity, allowing light to pass through. Its origins date back to at least the 1300s, when it was used by artists of the Italian Renaissance. [ 1 ] In the 1880s, tracing paper was produced en masse, used by architects, design engineers, and artists. [ 2 ]

  4. Carbonless copy paper - Wikipedia

    en.wikipedia.org/wiki/Carbonless_copy_paper

    The copies were often paper of different colors (e.g., white original for customer, yellow copy for supplier's records, and other colors for subsequent copies). Stationery with carbonless copy paper can be supplied collated either in pads or books bound into sets, or as loose sets, or as continuous stationery for printers designed to use it.

  5. Transfer paper - Wikipedia

    en.wikipedia.org/wiki/Transfer_paper

    Transfer paper is a thin piece of paper coated with wax and pigment. Often, an ink-jet or other printer is used to print the image on the transfer paper. A heat press can transfer the image onto clothing, canvas, or other surface. Transfer paper is used in creating iron-ons. Transfer papers can also be used for the application of rhinestones to ...

  6. Image tracing - Wikipedia

    en.wikipedia.org/wiki/Image_tracing

    Once the black and white image was in the graphics program, some other elements were added and the figure was colored. Similarly, Ploch recreated a design from a digital photograph. The JPEG was imported and some "basic shapes" were traced by hand and colored in the graphics drawing program; more complex shapes were handled differently.

  7. Whiteprint - Wikipedia

    en.wikipedia.org/wiki/Whiteprint

    The first is the exposure area, where the sandwich of the two sheets (the master and the diazo paper) passes in front of an ultraviolet lamp. Ultraviolet light penetrates the original and neutralizes the light-sensitive diazonium salt wherever there is no image on the master. These areas become the white areas on the copy.