PRINTING
*PRINT PROCESS
From screen to print
Printing is an integral part of my creative process. It is the moment when the artwork leaves the light of the screen to encounter matter, surface and reflected light.
Each print becomes a new stage of observation, adjustment and validation, until the physical artwork fully reveals what I created on screen.
A RELIABLE STARTING POINT
The first step is to calibrate my screen in order to establish a reliable base for my work.
I recalibrate it every month. This regular calibration allows me to maintain consistent color, brightness and contrast as I work on my images.
It provides the reference from which the printing process can begin. When the first test print is produced, I can then compare what I see on paper with a screen whose display I know is reliable.
TEST PRINTS
FROM SCREEN TO PAPER
The first test prints reveal the differences between the image on screen and the result on paper. These tests are not mistakes; they provide precise information.
I observe how colors, brightness and contrast behave once the light of the screen is replaced by the light reflected from the printed surface.
These observations become my reference points for the next stage. They show me exactly where adjustments may be needed before producing another test print.
ADJUSTMENTS
FINDING THE RIGHT BALANCE
The images are adjusted according to what I observe in the test prints: slight corrections to brightness and color balance, without ever altering the structure of the artwork.
Once these adjustments are made, I produce a new test print to see whether the image has regained the presence and depth I am looking for.
This back-and-forth between screen and print continues until the image finds its balance.
ON-SCREEN REPRESENTATION
BRIDGING SCREEN AND PRINT
A backlit screen and a Fine Art print interact differently with light. A screen emits light, while a print reflects it.
For in-situ presentations, I therefore adjust the image to represent as faithfully as possible how the printed artwork will appear in its environment. A slight difference in intensity may therefore be visible between the artwork presented on its own and its representation in an interior setting.
SEE AN EXAMPLE :
You can view Rhododendrons presented on its own and then in an interior setting. By comparing the two, you can notice the difference in intensity between the representations: in the interior setting, the adjustment compensates for the effect of screen backlighting to more closely reflect the appearance of the artwork once printed.
ICC PROFILE
ANTICIPATING THE FINAL PRINT
The decisive step is integrating the ICC profile of the paper selected for printing.
This soft proof on screen allows me to anticipate how the ink and the chosen surface will affect the image.
I can then make the final adjustments with the actual printing conditions in mind, before producing the next print.
ARTIST APPROVED PRINT
THE FINAL REFERENCE
I have a printer in my studio that allows me to produce my own giclée test prints.
This allows me to move back and forth between screen and print as many times as necessary, see the effect of each adjustment directly on paper, and continue refining the image until I am fully satisfied with the result.
When the colors, light, contrast and overall balance fully correspond to what I am looking for, this version becomes my reference: Artist Approved Print.
This final version of my artwork can then be entrusted to the professional printer for the last stage of the process.
PROFESSIONAL PRODUCTION
THE FINAL PROOF
The final file is then entrusted to a professional printer selected according to the chosen printing medium.
A final proof is produced under the actual production conditions to verify the rendering of the artwork on the selected medium.
If desired, this proof can be sent to the buyer, allowing them to see the physical rendering of the artwork before the final print is produced.
Once this final proof has been approved, the artwork is ready for final production.
MATERIALS
CHOOSING THE RIGHT MEDIUM
The choice of printing support is also part of the artistic process. Depending on the nature of the image, I may recommend materials such as Chromaluxe aluminum, facemount acrylic, fine art paper, or canvas.
Each support reveals the work in a different way and contributes to its final presence.