Digital Prints

“To keep the cost per print to a minimum, an artist needs to understand that they are paying
by the sheet or roll width. Prints should be sized to minimize the waste.”
This planning is the preliminary step where all the issues between artist and printmaker
should be laid out on the table and thoroughly discussed. If you develop a bad feeling
about this particular printmaker, now is the best time to pull out, not later.
Step 2: Digitizing the Image
Each printmaker will have his or her own way of turning the original artwork into a digital
file. Some prefer a traditional photograph taken on medium- or large-format transparency
film and then scanned. Others will direct-scan the original artwork with a digital
scan back or other high-resolution scanning method (see Figure 10.5). If the piece is small
enough, it could even be put on a drum (if it’s flexible) or flatbed scanner. The final result
is a high-resolution digital file that has faithfully captured all the details and colors of the
original work of art.
Step 3: Image Editing and Color Correcting
Color corrections and other image editing are done on computer workstations by the
printmaker’s staff. Out-of-gamut colors are adjusted in comparison to the original material
provided, whether that’s the artwork itself or a photograph of it. The main point of
this step is to match the original, and any deviations from this goal should be approved
only by the artist.
“Your print provider should be operating a full color-managed system,” advises Pixel Place’s
Chris Wade. “Ask first and verify that they are not simply guessing at color management.”
Chapter 10 ■ Using a Print Service 327
Figure 10.5 The ZBE Satellite digital
scanning system at Harvest
Productions. Note artwork on riser
under camera.
Courtesy of Harvest Productions Ltd.
www.harvestpro.com