Fine art reproduction requires a number of steps to be done properly.  The first step is the scan.  High resolution flatbed scanning is one way to digitize original artwork.  The first ‘trick’ is to use high enough resolution so that you’re feeding enough information to Photoshop in the retouching stage and ultimately to the printer in the printing stage.  Typically, scans at 300 – 360ppi (pixels per inch) at the full dimensions should suffice.  Higher resolution will be required if the artist would like prints larger than the original.  The second ‘trick’ is to use the RGB color mode.  If you use any other color mode, then the printer will make a conversion that may introduce color shifts.  The third ‘trick’, if you’re really meticulous, is to use 16bit color instead of 8bit.  This will give very fine gradations in color that may be required for some peices.  The downside is that this results in 2x larger digital file sizes.

The fourth ‘trick’ is to include a grayscale taget within the margin of the scan.  This is a small 12-step grayscale piece that allows you to adjust the white point, black point, and neutral gray once you move the image into Photoshop. This step is critical.

Once in Photoshop, the “levels” command makes the white, black,and grayscale adjustments a breeze.  As with any fine tuning done to the image, make sure to use adjustment layers.  This allows you to tweak the adjustment, change its blending mode and opacity, or delete it without altering the original file…. very handy.  These adjustment layers may include things like saturation, hue, levels, curves, etc.  If you’re looking at your image on a calibrated monitor (you are calibrating your monitor, aren’t you?) then these adjustments will help you to tweak the digital file so that ultimately the print looks like what you see on your monitor.

ICC profiles for your printer, ink, media, & print resolution are also required to get great results.  You may be able to download generic profiles but the best option for high-quality fine art reproduction is to create your own.  There are a number of hardware/software systems available.  A final step in the retouching process is usually adding a small amount of sharpening.  Don’t overdo it.

Now it’s time to print a proof.  Usually a small print on the intended media will suffice.  This will allow you to check the tone, color accuracy, color saturation, etc.  At this point, it’s important to compare your proof to the original under proper lighting.  A sneaky, sinister thing called metamerism is lurking in the darkness, waiting to trip you up.  Metamerism refers to the fact that a color may look different under different types of lighting.  The original and the proof may ‘match’ under the (ugh) flourescent lights in your office but they may be way off under natural sunlight or in the gallery.  If you don’t have a 5000K light booth, then just take your prints outside in the natural daylight.  At this point, you may need to adjust the saturation, tone, etc. to get a better match.

I recently completed a very successful fine art reproduction job for a local watercolor painter, Dr. William Robinson.  Bill is a very talented, self-taught portrait artist.  His most recent work was a very cute portrait of his granddaugher, Miranda.  All of the steps outlined above were followed in order to translate his original watercolor painting into a digital file that could be printed quickly and accurately onto Epson Somerset Velvet Fine Art Paper using an Epson 9600 inkjet printer.  This printer uses the Epson 7-color UltraChrome inkset which will resist fading for many decades. Various sizes were printed according to the client’s wishes.  See Bill’s website for more examples of his beautiful work.