The prices below include scanning, color correction, proofing, minor clean up and test printing.EPSON Scan lets you control all aspects of scanning and includes three modes:įull Auto Mode lets you scan quickly and easily, without selecting any settings or previewing your image. The best thing to do is to not sign the piece until after we've scanned it, but we can digitally remove the signature if you wish. Removing the signature after scanning is also a good idea when making prints at a size smaller than the original work because as the work scales down, Many artists prefer to sign reproductions by hand rather than have their signature duplicated. If the artist has waived the proof portion of the job, then we will judge the proof in-house, and we will then move on to the final printing. Here we want to make sure that the final output will look good on the chosen media, that color matching was done well, and that the final output will be up to our standards and the artist’s standards.Īfter the artist has agreed to the proof and signed off on it, we’re ready to print. Next we will load the selected paper or canvas and print a section of the painting so that we may proof the artwork. The artist may have also requested gallery edges on a painting, in which case we either create a solid edge around the artwork for canvas stretching, or clone the painting out two inches so it can be wrapped around the canvas. In some cases artists and photographers will also ask us to perform major digital edits on their work, such as color adjustment, fixing errors in a painting, removing lines from an underpainting, repairing cracks, tears or missing sections. We suggest that our artists not sign the original until after we've scanned it. Also, as the image is scaled to make different sized prints, the signature scales along with it. Signature removal allows the artist to hand sign prints, adding some personalization to each print. At this point we do any editing that was specifically requested by the artist, such as signature removal or other editing. We will also find small errors and imperfections in brush strokes and line work that are not apparent to the naked eye. We can see dust, hairs, scratches, and other minute imperfections that you may never knew existed. It’s like putting the artwork under a microscope. Once a piece of art has been scanned, we view it in high-resolution on the monitor. Different media (oil, acrylic, pastels, giclee inks) reflect light differently, in the testing process we try to minimize these differences as much as possible. During the proofing process we create multiple test prints and fine tune the color to achieve the best results, we work carefully to achieve the look that is as close to the original as possible with current technology. However, some colors fall outside of the printable color spectrum. We’ve calibrated our system to be ideal for accurately reproducing paints & pigments. Line clarity is important, and we are looking for crispness of edges and line fidelity. Next we will compare fine details in the original to the digital file to ensure we have accurately captured the original. If we see any color differences we will adjust the color in Photoshop. The first thing we will do is screen color matching, we will look at the original artwork and decide if the colors look the same. Once your artwork as been scanned to a 16-bit file, we will edit it. Each image is cleaned up (if needed, and only per your instructions) and painstakingly adjusted to produce a high quality replica of the original. We give the same care and attention to images created with the flatbed as we do to Cruse scans. Our High Quality Flatbed Scans are a cost effective alternative for those wanting to reproduce smaller works of art.