Post Production / Colour
Having digitally captured the original artwork, it is usually necessary to perform some colour and tone corrections. All imaging devices have differing colour spaces and characteristics and we can manage this with software to accurately represent the original work.
We are highly skilled in this area and can offer some very sophisticated correction techniques. As an artist led studio, we combine our love and knowledge of colour with our technical skills and equipment to create prints our clients are proud of. We use high end Eizo Colouredge monitors, an xrite colour checker and ICC paper and print profiles to ensure our level of craft is not compromised.
Our post production service comes included with any of our “Edition” services and we can also offer this service to image makers supplying their own digital files. This could be colour and tone corrections, image clean up, sizing or any image manipulation or creative ideas.
Post Production Pricing
We do not charge for setting up files for print or sizing changes. We charge £20 per half hour for other digital work. We are happy to assess your work and suggest any changes we think would be beneficial. Please get in touch with any specific projects. We like to offer as much or as little assistance as is required.
We also offer a proofing service. Again, this is part of our “Edition” service but can also offer hard proofs for digital files supplied to us. This is not always necessary, particularly if it is a one off print which is required or where colour accuracy is not critical. Monitors can vary widely in how well and uniformly they display colour and how well they are calibrated by the user. We can supply an a4 hard proof on the paper of your choice for £5.
Post Production Rates
|Service||Per Half Hour|
Technology & Craft
The Art and Tools of Reproducing Fine Art
Scanning or photographing an original artwork accurately is rarely straightforward. When we look at an original artwork whether 2 or 3 dimensional we have the opportunity to move around and change how the light reflects off an artwork. Differing light sources also change the way we see work and input and output devices use different digital colour spaces. Daylight is the purest visual light (with a CRI index of 100%) but it changes in intensity and colour temperature which is problematic for photographic accuracy. We use extremely high CRI led panels (including R9 + R12) to allow excellent capture of colour wavelengths across the spectrum with calibrated white balance and lumen output to guarantee production levels.
We work with colour calibrated equipment throughout our process, utilising Eizo ColourEdge monitors so we can see precisely how the finished product will print. This includes specific paper print profiles (icc) to ensure our state of the art Canon 12 colour pigment ink printers will follow this. This is all completed in a high cri (colour rating index) led environment so we know all is correct.
The different colour response of different devices can be problematic if not properly managed. For colour information stored in digital form, colour management techniques, such as those based on ICC profiles and calibrated devices, can help to avoid distortions of the reproduced colours. Colour management does not circumvent the gamut limitations of input and output devices, but can assist in finding good mapping of colours into the gamut that can be recorded and reproduced.
Colour gamut is the effective colour space and range that a digital device such as a monitor, camera or printer can record or display. Different devices can do this with more or less colour gamut. We use equipment which can record and output some of the widest colour gamuts available.
Please see CMYK v RGB below for some further information.
The Quest for Colour and Tone Accuracy
Our process aims to gain the most accurate detail and colour information from the original to be stored in digital form. For reproducing artwork for print it is essential to have a high quality (High CRI) even lighting set up and a high quality digital sensor to record it (the larger the better).
Optical density and range of contrast of a device has a significant effect on reproducing the original. A picture has in his brightest area its minimal density Dmin and in its darkest area its maximum density Dmax. The range of density of the picture is calculated from the difference of the maximum density and the minimal density.
A specific scanner or camera can record a certain minimal density (lightest) and a certain maximum density (darkest). Within this range, it can capture completely all tonal shades of an original; the tonal shades outside the range of density are not recognised by the scanner or camera and are cut off.
Our equipment was chosen specifically for its ability to show and capture detail, colour accuracy and high tonal range.
Colour Rendering Index (CRI)
It is the light source illuminating an object that determines how well humans see color. This source can be measured on a Colour Rendering Index (CRI). Color rendering describes how a light source makes the color of an object appear to human eyes and how well subtle variations in color shades are revealed. The Color Rendering Index (CRI) is a scale from 0 to 100 percent indicating how accurate a “given” light source is at rendering color when compared to a “reference” light source.
CMYK vs RGB
Cyan, Magenta, Yellow, Black vs Red, Green, Blue
There are lots of articles online about colour space and it can be a complex and scientific investigation. Many searches for CMYK v RGB will bring up articles stating RGB is for display on monitors and screens and CMYK is for printing purposes. This CMYK usage only applies to higher volume commercial printing of brochures, posters and business cards for example as the CMYK colour space has a much smaller gamut/range of colours than RGB. The higher RGB range is much better for artworks, illustrations and photographs.
Commercial printing equipment can only reproduce this lower range gamut. High quality Giclee printing uses many more ink colours (12 in our case as opposed to 4 in CMYK) and our machines are able to process much more colour information and reproduce the much wider colour Gamuts of RGB colour models. We use the term RGB colour models as there are many different RGB colour spaces. The more familiar ones and commonly used would be sRGB, Adobe RGB 98 and ProPhoto RGB. Each has its own colour space as shown in the diagram. ProPhoto RGB has the largest colour gamut and will display/print up to 98% of colours.
Our equipment is capable of printing this huge range of colour. It is not always discernible and not all artworks will have this range so it is not necessary in all situations. Wherever possible we recommend using the colour space of Abobe RGB and ProPhoto for artworks and photographs.