Here's method of transfer printing which works infallibly. You can use a Daylab Junior slide copier which sell for about $125.00
Set both the magenta and yellow filters of the slide copier to about +25, blue to zero
With a normally exposed slide set the lighten/darken control to approximately the + mark and flash the film twice. A darker slide may require three or more flashes with the control set all the way clockwise, and an underexposed slide may only require one flash.
Peel the film, after about a 10 second delay. I THINK that the contrast and color of the image is improved if this step is done in VERY subdued light. . . like near-darkness. It seemed to me that the whole image had more of a dark cast when I allowed light of my desk lamp to fall directly on the film. I didn't do any controlled experiments to establish this for sure, but it's something to experiment with.
Lay dry D'arches Aquarelle hot press paper on a 9x12 sheet of 1/4" acrylic plastic and place the film on it, also as described in Dupre's material.
Rub the back of the film completely with the back of a soup spoon using medium pressure (not so hard it makes your wrist tired). First cover left to right in a scanning pattern from top to bottom, then turn the acrylic 90 degrees and repeat. Be sure to go around the edges with the spoon.
Let the film rest for about 90 seconds and then run very hot tap water (about 160 degrees F) over the back of the film for 20-30 seconds. Flip the paper and film over and run the hot tap water over the paper side for about a minute, rubbing over the paper completely with the back of the soup spoon until it becomes completely translucent- with few or no streaks of white where the paper has not been completely wetted.
Turn the film and paper back over and peel the film off, but allowing a trickle of hot water to run over the surface of the image as you peel. By the way, if you aren't gentle while flipping the paper back over, it may peel right off the film as you try to lift it. . . but when this has happened, the image was unaffected.
Use a soft plastic spatuala to gently clean the brown developer paste from the image. The spatula I used is a light blue high temperature type (supposed not to melt even at 400 degrees oven temperature) which has a slightly rounded edge and is softer than the run-of-the-mill spatuala/scrapers of white rubber you normally find around the kitchen. I had no trouble with emulsion damage using this spatula, even when scraping harder than usual to get off impacted developer goo.

I did use hot distilled water the first few times I tried this, but found it a relatively expensive nuisance, so just used tap water (from a well) since ours is very hot. I can see no discernable difference in the results obtained, although there may be long term consequences in archival qualities. For my purposes, this is not of great importance. I did conventional silver-based photography for years, mixing all chemicals and washing prints in well-water. I've seen no yellowing, fading or other problems in these prints after 30 years, so I'll hope the Polaroid process is no more tender in this regard than is silver-based monochrome photography.

I experimented with a couple other types of paper. The D'arches was clearly better- partially because of it stands up to abuse well, and partially because of the sizing, I suspect. But I did get reasonably good results using this modified technique with less expensiver papers. Wetting the back of the paper thoroughly and burnishing with the spoon seems to eliminate any tendency of the D'arches paper to separate, but still provides quite a sharp image.
PS Someone told me that soaking the print in a very weak vinegar solution may help strip off the brownish developing goo. I haven't experimented with this, but it's worth trying. However, when paying a dollar a sheet for fine, acid-free water color paper, it stands to reason that dipping it in acid may be counterproductive in the long term.

Here's the scoop on the transfer process.
There's also a booklet available: Professional Guide to Image Transfer Polaroid films: Any peel apart color material no SX-70's and no B/W or Time Zero.
Substrates: Hot press watercolor paper, Cold press watercolor paper, Rice paper Other (wood, leather, cotton, silk)

1. Prep the watercolor paper or surface you'll make the transfer onto. Soak paper's in distilled water that's warm to the touch.
Some folks use a bit of photo flo in the water and other's use sodium bicarbonate to raise the pH. Wet materials work better
than dry one's. I've had good luck with soaking rice paper's in room temp. distilled water, blotting it between layers of paper
towels and then putting it on a small piece of wood, a stage if you will, that those nasty 'Roid chemicals can touch etc. For some
odd reason the wood which is about 1/4" thick and 5x7" is just right for the transfers and handy to pick up and hold under a
light, move around etc. while you're making a transfer.

2. Make an image on the Polaroid film. This can either be done with a 4 X 5 or 8 X 10 Polaroid back or by taking a 35mm
slide and making a Polaroid print by using a Vivitar Slide Printer.

3. Pull the Polaroid through the rollers to pop the chemical pod and coat the negative. Approximate processing times are 10-15
seconds. Then peel the Polaroid "print" or receiver sheet from the negative. I'm going with 10 sec. times for images that have
large amounts of red in them, longer times for cooler images.

4. Gently put the negative in contact with the wet paper you've prepped. Roll the top of the neg. with something akin to an ink
roller for good contact. Some folks use a press, their hands or a brick for this. Turn the paper & negative over and gently rub
the back of the paper with your fingers as if pressing out an air bubble. Fastest transfer time would be around 90 seconds and
the longest times run around 30-40 minutes. The Average transfer time's recommended by Polaroid are 2-5 minutes. Two
minutes is working just great for me.

5. Very slowly and gently peel the negative off of the paper. Use the tab to pull with and keep the neg. almost parallel to the
paper. If you're losing blacks or shadows that's image lifting and you're pulling too fast.

6. Step back and admire the darn thing! At this point you could send it to a printer for separations, let it dry and use if for a
display print or add other elements to the image with pastels, colored pencils, dye's, chalk, oils etc., I mean hey... it's a piece of
paper right ?

I saw some very good results done with a Vivitar slide printer (print size about 3X4), both with color E-6 materials & PolaPan
B/W and Polachrome self processing 35mm films. The slide copier also accepts filters so that you can change many things with
that feature as well. (ie, up the red content since red's don't transfer all that well) The rep. I talked to on the phone said that he
got better results with hot press watercolor paper. A cold press paper will have a texture to it and can be difficult to use when
you're first trying it all out, but then again the same texture can add another element to your image.

I've had great luck using rice papers. My local source sells a *very wide* variety and ships everywhere. You might give 'em a
call and ask for a catalog. " Dan Smith Inc. " Orders: 800/426.6740 Cust. Service: 800/426.7923

They might have an Oriental Paper Sampler, just ask. These folks have large sheets of rice paper with leaf's, butterflie's in them.
The range of papers is amazing, they even carry papyrus. When you're on the phone with them ask if they know of thier
counterpart in your neck of the woods. Reason being that you should find a table with paper thats been "damaged" in transit and
sold at a good discount. A goofed up corner on a 30x42" sheet really doesn't matter all that much for 'Roid transfers if you're
cutting it up anyway.

I've found a great paper that's about $7 for a sheet thats around 1 sq. foot in size. So when working with a new image I use a
cheaper paper, thinner and cut from a larger sheet to make my proofs on. The thin paper dries out in 30 min., one time when I
was in a hurry I was nuking the transfers and they looked just fine.

Polaroid also makes a slide copier that projects a 35mm frame onto an 8 X 10 sheet of Polaroid film (the Polaprinter). It's a
rather large desktop unit. Of course you'll also need the desktop processor for the 8 X 10's. The list price for the Polaprinter is
$1,629.90 (street price under $1K) and the Vivitar one lists for $160.00 but is available from your local dealer at a more
reasonable price. ($115-125.00) Or from DAK for about $60.00 The image transfer process has become so popular that
Polaroid is now selling a starter kit which consists of a tray, rubber roller and a pack of film. It lists for $39.34

Talking to the rep. on the hotline I was told that to keep an image archival you need to either re-photograph it or get color
separations made. Because there are so many variables in different stages that everyone uses it's almost impossible for them to
even start advanced ageing research.i.e. Boston tap water is the best, NYC water is the best ... ink rollers are best, bricks are
best, long vs. short times.
Underexpose transparency 1/2 stop for better color saturation and to avoid contrast
problems.orange & red will transfer to the Polaroid receiver sheet first, therefore the short process time.soak watercolor paper,
squeegee it and then give a half an hour to dry. Paper that's too wet causes bleeding of colors.transfer times of 30 to 90 minutes
depending on color range in the original and type of paper you're using.loss of blacks indicates too fast a pull of the negative
from the paper.Myron air dries the paper which then buckles, he mists it with some water and then puts it into a hot dry mount
press for about 30 seconds. Then flattens them with a weight.

Here are ten good tips for making Polaroid transfer prints.

1. Select a receptor sheet that will help you get the type of results you want. The tooth of the paper has a big role in the image
quality.

2. Be careful to eliminate excess water from the receptor sheet. If the receptor sheet is too wet, excess developer will remain on
the transferred image, causing the dyes to liquify and run.

3. As a rule, the sooner you peel the film, the better the colors. 10 seconds is the optimum development time. Pulling any sooner
than that the dyes might not have had enough time to begin migration. Pulling later than that, the migration of dyes will alter the
color balance of the image. After about ten seconds, the negative has almost all of the cyan dye, about half of the magenta dye,
and very little of the yellow dye. This explains why most transfers have a cyan bias. To correct, use between 10cc and 20cc red
filtration.

4. Press the negative against the receptor sheet evenly. In areas where the pressure wasn't applied evenly, the emulsion may
peel awaymore easily.

5. Soft rollers work better than rough ones.

6. When rolling your image, don't press too hard. IF you use too much pressure, the image will not stick well to the receptor
sheet. For best results, start at one end and roll smoothly, with even and moderate pressure.

7. Peel the negative away slowly. This is to help prevent tearing of the emulsion.

8. Manipulation of colors is easiest done by using filters during exposure. Watercolors are great for spotting too.

9. Storage of film should be around 70F with normal humidity. Adverse conditions can affect transfer capabilities of the film.

10.Clean camera roller routinely. Shmutz on the rollers will show up on the transfers. Also, becareful not to scratch the rollers as
the scratches will show up too.

Some other ideas possible transfer problems:

Water ph has an effect on transfers. Images do not adhere as well with water of low ph. For best results, water ph should be
sesven or higher. When in doubt, use distilled water for consistent results.

Make sure that you soak the receptor sheet well. After soaking, make sure to squeegee as much excess water as possible.

Don't wait too long before placing the negative on the receptor sheet. The dyes will dry out and affect transfer and adhesion.

After rolling the sandwiched negative and receptor sheet, wait between 90sec and two minutes before peeling the negative
away.