Proofing

The goal of proofing is to create a print that is as close a match as possible to the original. This requires modifying the information captured in a digital scan to take into account the type of press, inkset and substrate that will be used in printing the edition. 

In giclée printmaking this is very much a collaborative effort between artist and printmaker.  As printmaker, we use an image editing program to make a series of small, incremental adjustments. With each adjustment we monitor progress by printing out a proof using the press, inks and substrate that will be used in the final edition and checking each proof against the original until we are satisfied that all the colors are accurate in hue and saturation, that the highlights, midtones and shadows are set correctly and that we have remained faithful to the mood or tone of the original. 

The artist then looks through the proofs with us. This is an invaluable opportunity for the artist to assess the subtle variations between the different proofs and point out which features most closely reflect his or her original concept of the work. Sometimes one of the first set of proofs is selected; sometimes additional modifications and additional proofs are required. Somewhat surprisingly, the proof selected as the final is not necessarily the most accurate proof. Many artists prefer to evaluate the proofs in their own right as prints, without overly close comparison to the original. This is especially true when an image is being reproduced onto a different material (e.g. paper instead of canvas) or in a much reduced or enlarged size.