Scanning
Anyone who has ever reproduced works of art is aware of how much work goes into the capture and scanning. While digital camera scanners have improved keep your eye on the light system and the software. Ideally digital CCD Scanners work best in Daylight. Because it is hard to duplicate the daylight wavelength, look for a CRI rating as close to 100 as possible. We have obtained really fine results with a lamp system using a fluorescent lamp with a rating of 98. We have found a weakness in obtaining yellow saturation, which can easily be balanced in either Photoshop or Picture Window. We have been found that the software of BetterLight produces a wonderfully neutral gray balance across the entire scale. To learn more about fine art capture click onto Digital Art Capture. 

Reproducing From Transparencies
Transparencies are very high in contrast and need to be scanned by a scanner that has a very wide range. For years drum scanners have had the distinction of being the only scanning technology capable of reaching the full dynamic range of a transparency. Today there are a number of non-drum scanners that come very close. Besides the sharpness of the scanner's ability it all about dynamic range.

Transparencies have numerous problems. They were never created for capturing art and are inherently non linear. That means its ability to produce a perfect gray scale is almost impossible. When adding the anomalies of film processing the results can go from not bad to disastrous.                                                

Printing Fine Art
Fine art reproduction differs significantly from photographic reproduction. Photography is comprised of tonal shades, whereas, paintings are comprised of a blend of color tones mixed to create the illusion of shades of tone. Being able to reproduce the nuances of color is far more critical in Fine Art Printing.   

Painters throughout history have used very little black pigment, their shadows and deep tones are comprised of rich color combinations. This differs greatly from traditional digital printing.

Digital Printing has traditionally used black ink to replace color in the shadows and to enhance the depth of color. Often the technique used is called UCR, which stands for under color removal. This process is used to reduce the amount of ink layered down in the shadows. While a painter can layer pigment, digital ink when layered pools, puddles, and blisters. This is not a good thing. So the amount of ink used in the shadows and deep tones must be kept to a minimum. Therefore, "the quest" is to increase the amount of color density used in place of black. This is a complete antithesis to the basics of digital printing. How do we accomplish this?

To accomplish this, each color must reach the desired saturation at no more than 70% of its density scale. This means that we have to cut back each of the primary printing colors CMY. However, this is not possible with most inks manufactured by printer companies, OEM's. We spent a great deal of effort, research time, and capital to develop Symphonic Pigment ink. It accomplishes this prerequisite. Let me tell you this was no easy task, but well worth the results. Now we can reach the depth of color without relying on black. 

The Quest For Rich Long Life Inks 
There are several elements that contribute to longevity. One of which is its ability to resist fading and another is the concentration of the formula. To find a pigment that offers both longevity and brilliance is usually expensive. Most inks are compromised with the idea, “its good enough.” Symphonic Ink was made without compromise from the highest quality long life pigments made with a very high concentration. 

Rip Software 
The Rip driver used to process the image is essential in controlling the tonal scale as well as the saturation. It sets the parameters of amount of ink used for profile making. For more information see Rip Info.

Color Management 
The control of making the right type of profile is  essential to quality reproductions. If you intend to make your own, take the time to try different approaches with black generation control. Here is where the control of Black Generation is critical in making a profile ideal for Fine Art. Look in our area of Color Management Theory for a understanding in UCR, GCR, and black generation.