Digital Fine Art Reproduction/Capture/Scanning Of Original Artworks

Digital Fine Art Reproduction/Capture/Scanning & Proofing Workflow – How We Digitally Reproduce Original Artworks:

• DIGITISE ORIGINAL ARTWORK – FIRST STEP IS TO DIGITISE YOUR ORIGINAL ARTWORK
• EDIT – EDITING WILL REMOVE ANY DUST OR SCRATCHES FROM THE DIGITAL VERSION OF YOUR ARTWORK
• COLOUR PROOF – COLOUR ACCURACY IS ASSESSED BY DIRECT COMPARISON OF PROOF AND ORIGINAL
• ARCHIVE – ONCE THE PROOF HAS BEEN APPROVED, THE DIGITAL FILE IS ARCHIVED ON OUR DEDICATED SERVER
• PRINT – THE ARCHIVED FILE IS STORED UNTIL PRINTS ARE ORDRED. ORDER VIA EMAIL OR TELEPHONE

After initial digital fine art reproduction/capture/scanning, colour correction and assessment by ourselves, a proof is made (Approx- A4). This printed proof is then viewed by the artist underneath our dedicated colour correct lighting set-up before any further colour correction takes place. The lighting set up we use for proofing ensures that proofing takes place within a properly lit environment of the correct colour spectrum. To ensure colour consistency, our colour managed workflow is set to the same D50 specifications.

Viewing takes place with one of our staff and any changes required can be discussed fully. Proofs can be posted if distance is a problem but we do recommend viewing proofs underneath our dedicated lighting to avoid any colour casts caused by different lighting. The proof should be returned to us ( if posted ) along with notes on any further adjustments deemed necessary by the artist in order to match the original artwork. Further adjustments are then carried out and a new proof is printed and is viewed or sent to the artist for approval.

The job will be printed when a proof has been approved by the artist.

The proofing process is necessary to the (digital) artist and printer because of the degree of difference between viewing conditions (monitors etc.) and output methods. The proof can also be archived for future reference to ensure consistency throughout printing and reprinting irrespective of the time between the original prints.

Turnaround for capture & proofing is a minimum of ten working days.

After capture, set-up and proofing (all of which is included within the capture fee) the final stage in the workflow is printing. Please visit the Giclée Printing page to see prices and sizes available.

Oxford Giclée Ltd accepts no responsibility for copyright, it is the sole responsibility of the customer to ensure that no copyright infringement occurs. If you do not own the copyright then we will not capture the artwork or print the file.

Price

Technical Information – Equipment & Techniques Used To Produce Digital Fine Art Reproductions Of The Highest Quality:

To produce high quality digital prints from original artworks you need a high quality digital file. To produce the best digital file possible Oxford Giclée Ltd use the latest 5×4 inch scanback technology from Betterlight as the basis of an ultra high quality digitisation system. The scanback has a 5×4 inch image area and incorporates three CCDs, one for Red, one for Green and one for Blue. Standard single shot DSLRs or medium format digital backs only contain one CCD which captures colour in a less than optimum way. Red is captured by 25% of the total pixels, Green by 50% and Blue by the remaining 25%. A lot of guess work is needed for these CCDs to output colour. The 5×4 inch image area of our system captures 100% Red, 100% Green and 100% Blue at 16 bit colour depth ensuring unrivalled colour accuracy, sharp definition and smooth tonal gradation.

The scanback is mounted in a 10×8 inch vertical copy camera with optics that are designed for the super high resolution of the CCDs. We are able to produce files in excess of 500 mb which are in excess of 100 megapixels. Some medium format single shot digital backs have resolutions of upto 60 megapixels. These pixels are concentrated in a very small area in comparison to the Betterlight’s large format area. Squeezing high numbers of pixels into a small area increases the heat produced within the sensor thus increasing the digital noise which is evident in images taken with a high iso. The Betterlight’s large image area means that the pixels are larger and less tightly packed which helps to produce virtually noise free images no matter what iso value is used.

When digitally capturing an original artwork nothing comes into contact with the artworks surface. Standard scanners can damage works and squash impasto. This is of course totally unacceptable. You can be assured that the handling of your artwork is carried out with the greatest of care. All standard scanners and some high end scan systems have a single light source which moves across the artwork as it is digitised. This lighting will never fully reveal 3D brushwork or impasto techniques.

With our free moving system textural definition is achieved through the careful use of 2 or more museum quality HID lights. These lights are energy efficient thus keeping infra-red, UV and heat discharge to a minimum. With a special combination of techniques we are able to capture oils and acrylic works reflection free. The technique is so efficient we are able to capture glazed works with no reflections.