|
|
|
|
|
|
|
|
|
Output Options
|
|
|
|
|
|
|
|
|
|
This page contains information regarding output. The topics covered are:
General Comments
Questions I Ask
Fine Art Prints (HP Inkjets and Scitex Iris)
Small Prints
Banners
Other Output
Resolution
For fine art inkjet prints (large format on watercolor paper or canvas substrates) I begin my images working at 150 DPI (dots per inch) at the final image size. For print work to be published in magazines, or as posters or postcards, I begin working at 300 DPI at the final image size.
File Format
I always save work-in-progress as sequentially numbered versions in the native RIFF file format of Painter. The files are 24 bit RGB color mode (all Painter files are RGB). The RIFF format preserves all my layers (wet layers, floaters, transparent layers, mask information) for future editing and usage. I then end up converting to RGB TIFF file format for printing (and occasionally converting to CMYK TIFF in Photoshop if needed). Since the subtractive colors seen when looking at a pigment or dye based print tend to appear darker and duller than the bright flourescent additive colors seen on a screen, I sometimes apply an Equalize effect on the print file to slightly "punch up" the brightness, contrast and saturation.
Think Ahead
I first decide on my final output choice and then talk directly with the output service bureau. I find out from them first what final output file format, color mode, file resolution and portable media requirements they have. In addition I check with my framer that I'm allowing sufficient border around my printed image.
Partnership
I like to work in partnership with my vendors. It makes a lot of difference to me to deal with a vendor who understands what I am trying to achieve and is sincerely interested in trying to assist me in achieving that end result, whilst educating me along the way where necessary.
Editions
My fine art prints are generally limited editions, usually of 50 prints total. In addition to any digital signature that may be present in the original image, I always add my signature and edition number (eg. 24/50) to the final print by hand. The print is only a verified part of the limited edition if it has my original hand-written signature and edition number. This offers the client veracity that the print is not illicitly produced without my permission.
As I experiment with adding laminating sprays, gels and varnishes to my canvas prints, the prints are becoming indiviualized one-off artworks, rather than identical prints from an edition.
Always Run a Test
I always ask for a test print or test strip to be run at the final resolution and scale. The color of a print out varies from machine to machine and you can never predict exactly how your print is going to look. Avoid expensive surprises!
The questions I ask when looking for suitable output and mounting for my digital artwork include the following:
Aesthetic Quality
Does it enhance, empower the image? Is it satisfying to the eye? Does it feel good to touch?
Print Size
Is the size suitable? Does the size fit the image, the environment? I love the dramatic effect of very large scale reproductions of my portraits. I like the way that the paintings transform from abstract to descriptive as you step back. For fine art prints that I sell I offer two standard sizes, one approximately 23" x 30" and the other 14" x 16".
Color Quality
Do the colors jump out, look faded and dull, change dramatically from my the screen colors or from other prints? Are the colors bold and saturated?
Durability and Archivability
Is the substrate easily damaged? Does the color come off easily? What sort of framing/mounting/coating is needed to protect it? Will the colors be affected by age and sunlight? Will the print fade over time? There are a variety of "long life" and "archival" inks, dyes and pigments being offered for different printers, as well as uv protective coatings (see Fine Art Prints below). I treat all digital prints as delicate artwork that is susceptible to fading and damage if exposed for long periods of time to direct sunlight.
Convenience
Is it simple to deal with the vendor, to handle the output, to mount the output, to transport and ship the final framed artwork?
Cost
Can I afford it? Is it good value (in the long run, as well as the short run)? Are there better alternatives?
For Fine Art Print output I am using two alternative printing methods: Hewlett Packard Designjet inkjet prints on canvas and Scitex Iris inkjet prints on watercolor paper. I shall summarize my experience with each method of printing below.
Novajet, Encad and Hewlett Packard all produce large format ink jet plotters. I have worked mostly with the Hewlett Packard DesignJet 2500CP and 3500CP printers. The results have been excellent. These printers can output on a wide variety of media, including canvas, glossy film, watercolor paper and fabric. My favorite substrate at present is canvas.
I have been very satisfied with the HP DesignJet 3500CP prints on canvas from:
Elite Reprographics
363 Sixth Street
San Francisco, CA 94103
Phone (415) 957-1234
I spray two coatings of Milano Media Lamination Spray (800-257-6021), add some texture with Golden Gel Mediums Extra Heavy Gel (Gloss) and a final protective coat of Golden Varnishes MSA Varnish with UVLS (Satin).
Important Note : These are very toxic materials to work with and it is important for your health that any treatment of the canvas is conducted outdoors (or at least in a very well ventilated large space) while you are wearing a professional quality respirator and solvent proof industrial gloves. The treated picture will continue giving off dangerous fumes for several days after the coatings have been applied so be careful where you store the image while it is drying.
For high resolution prints on archival watercolor paper I have used Iris ink-jet printing (which can also output on many other substrates). These prints have a beautiful natural (continuous tone) quality about them. The vegetable dye inks spread into the water color paper and form a continuous tone image without noticeable pixelization. Colors may be slightly duller than on the screen. The inks are UV sensitive and water soluble. Iris prints should be treated with the same care as traditional watercolor paintings (kept out of direct sunlight and away from water and dampness). I generally use 140 lb cold pressed watercolor paper with beautiful naturally deckelled (torn looking) edges (Arches or Somerset, Somerset being the purer white, Arches having a slight creamy tone). I usually leave a 1" - 3" border between the image edge and the paper edge, with a slightly larger border below the image compared to above.
Iris prints are also being referred to as "Giclee" prints. Giclee, pronounced "jee-clay" and with accent above second 'e', literally means "splash" in French. Iris prints are now becoming known and accepted in "traditional" art galleries and museums. Be warned: not all prints called Giclee are actually printed on Iris printers. My own preference is to avoid the confusing, and sometimes misleading, term Giclee and stick to the accurate term Scitex Iris ink-jet prints.
There are now a large number of service bureaus, and even art galleries, offering Iris prints for fine artists. There is a great variation in quality. The key to a good Iris print is the conversion tables developed by the printer that convert the RGB pixel information into data for the Iris ink nozzles that accurately captures the colors and tonal values you see on the screen. There is always some compromise since the CMYK printing inks can not reproduce all the vibrant colors that are visible on the RGB screen. The experience of the printer is vital in ensuring the best end result. You should definitely get proofs done in advance of a final print to avoid unpleasant (and expensive) surprises.
Over the last few years I have used a number of different service bureaus for Iris prints. The best quality images I have come across are from:
Image House of Santa Fe
315 Johnson Street
Santa Fe, NM 87501
Phone (505) 986-0333
Fax (505) 982-7527
They have a gallery. It is well worth a visit if you're in the area. The master printer, Don Gray, is very knowledgeable and helpful.
For small one off 4" x 6" postcard size color prints I am using a Fargo FotoFun! dye-sublimation printer. I am very pleased with this small inexpensive printer. The print quality is very high (they look like photos, rich well saturated colors, tending on the darker side, with deep blacks). They can be printed on post card, photographic paper or sticky label stock. Each print takes about a minute to print. This is the printer I generally use at live events.
For letter size portrait prints I use an Apple StyleWriter 2400 (actually made by Canon) with Apple ColorInk-Jet Premium Coated Paper (which produces good, well saturated prints).
For continuous tone high resolution prints up to about 9" x 11" dimensions I use dye-sublimation prints. I print these out at local service bureaus such as Creative Computer Workshop, Palo Alto (Tektronik Phaser 450, images up to 9.3" x 12.7", phone 650-323-7559), or PhotoTime, Stanford Shopping Center (Kodak 7720 printer, images up to 10" x 10", phone 650-326-0882). Another printer worth keeping an eye out for is the Fujix Pictography 3000 digital printer. This Fujix printer uses a permanent silver halide process and the prints are higher quality and more durable than dye-sublimation prints.
For large print runs (500 or more, for instance) I have used digital Indigo E-prints (LazerTouch, Menlo Park) and 4-color digital Hiedelberg (LinoText, San Francisco).
Finally, for the very largest, most impactful (scale wise), color prints up to 8' high (or even bigger!) I have used the massive Vutek billboard printer, which sprays durable acrylic pigment at low resolution (18 dpi) onto traditional artist's canvas or vinyl. The pigment spreads out so individual pixels cannot be seen, and I find the low resolution works fine with my expressionistic style of painting. The colors are brighter and more saturated with vinyl. Canvas has a beautiful look to it (but more subdued color). A very useful source of information on large format prints is Richard Noble at phone (510) 838-5524. Also I recommend visiting Richard's web site. There are now a number of competing banner and billboard size megaprinters. They are capable of printing at higher resolutions and I recommend you do some comparison shopping before deciding on your final output vendor.
I have not personally tried these alternatives and make no recommendation.
Pigment Transfer Prints
Very archival prints from
EverColor
5145 Golden Foothill Parkway, Suite 140
El Dorado Hills, CA 95762
Tel. (916) 939-9300 or (800)533-5050.
Digital Linographs
Reasonably archival oil-based canvas prints available from:
C.R.A. Production Lab. Co. Inc.,
12 Hammond Drive #201,
Irvine, CA 92651,
Tel. (714) 581-7090,
E-mail 102445,2416@compuserve.com
All World Wide Rights Reserved
http://www.portrayals.com
jeremy@portrayals.com