We work from: original paintings, slides (and other film types), digital files, photographs, prints

Important Factors to Consider for Each Submission Type:

ORIGINAL ART:  There is no doubt that the best results happen when working from the original painting. We will either scan or photograph your painting to get it into our computers as a digital file. Then we print from that digital image, comparing the result with your painting. To the extent necessary, we “tweak” the colors of the digital file until we get as close as possible a match to your original.
Because each different light source (artificial and natural) will give a different reading of reproductions (and original art as well), your reproductions are tweaked under a combo of four types of lighting sources all at once: (1) Natural ambient daylight, (2) daylight spots, (3) fluorescent, (4) incandescent (lamp) lighting. The first two lend yellow/green, the third blue, the fourth red. When looked at under this combo, the reading will be within natural variant ranges, giving a nice red-yellow-green-blue balance. It should follow that they will look nice under any lighting conditions that you place them under. For the purposes of proofing, you should move the reproduction around your home or studio environment, viewing it under all available light sources, including sunlight.
     We can accept framed paintings that are not under glass or Plexiglas. We will photograph the work without removing the frame. If the painting is under glass or Plexiglas, you must remove the glass or Plexiglas prior to shipping the work to us. We cannot photograph through glass, and will not be responsible for removing it.
      When sending an original painting, over packing is the key to having it arrive in good order. UPS is the only carrier that will actually reimburse for the insurance value declared (provided you can produce some type of valuation documentation such as a bill of sale or an appraisal).
     Avoid varnishing paintings until after we have processed them. If you’ve already done so, we can often get around “glare (bling) issues” by using a little professional, photographic and digital “trickery.”

SLIDES, TRANSPARENCIES, NEGATIVES: Yes, we work from most types of film. If you possess a photograph that well represents the original, including this with your film submission can be very helpful in giving us a target to work towards. This applies to digital image submissions as well.

DIGITAL IMAGES: If your digital files are being created by scanning any type of film or the original painting, please select as many of the following five options that your scanner software offers:

     If your digital files are being created using a digital camera, we recommend at least a 6-mega-pixel.  All digital images should be saved in one of the following formats, in this order of preference: tif, tiff, jpg, jpeg. 
     Since some cameras only take images as jpgs, if your software allows, save the image as a tif (tiff) prior to doing any manipulating of the file.  Jpgs are compressed files. They loose some amount of information each time they are saved.  Tif files are not compressed.  They will retain all of the original information captured by the camera.
     If you possess a photograph that well represents the original, including this with your film submission can be very helpful in giving us a target to work towards.

If you'd like to send your digital files to us on-line, please click here.

Amateur Photography Tips:
[1] Set the camera on the highest/finest setting (the one that allows you to take the least number of photographs).
[2] Place the painting in full sunlight. (If a shiny painting, place in a shaded area on a sunny day or with its back towards the sun).
[3] Include a white object—such as an envelope—in the picture (next to the painting); this will give us an important level reference when making color adjustments.
[4] Get as close to the painting as possible.
[5] During the focusing stage, a printed document taped lightly in the center of the painting can be useful. When viewing the image on a monitor, the signature is usually the best indicator as to whether good focus was obtained.
[6] If manipulating the image with computer software, don’t make any changes to the original dpi at which the camera captured the piece…leave that for us to do. Also, unless you know what you're doing, don't be concerned about pixels or inches.  We can resize here for optimal output.
[7] If an option on your camera, set it to capture the original image in “tif (tiff)” format. If “jpg (jpeg)” is your only option, open the file in your photography software and save it in ”tif (tiff)” format. If you are not able to convert the file into a “tif (tiff)” format, not to worry...send it to us as a ”jpg (jpeg).”

     We can crop out the neighbor’s dog, the garage door, the envelope, and even the picture frame. We can straighten images & square them up.  So don’t fret about these things.
     If your image is being professionally photographed, please have the photographer capture the image such that it would be suitable for output at its original size.

     Two final notes about digital files:

     1. Each computer monitor has it’s own, distinct color calibration. This means that your digital file will appear somewhat differently on our screen than it does on yours. Because of this, color variations must be expected and allowed for, as our graphic technicians can only make our printers match what they can see on our monitors…not yours.
     [To help compensate for this factor, if you possess a photograph that well represents the original, including this with your film & digital submissions can be very helpful in giving us a target to work towards.]
     2. When artist’s submit digital files, there is much more to the process then just hitting “PRINT;” therefore, we do not waive setup fees for digital submissions...UNLESS:

“JUST HIT PRINT” … Being aware that more of you are becoming computer & camera savvy, we are now instituting a “JUST HIT PRINT” option for prints.  If you submit a digital file to us that is “print ready,” you do not have to pay any setup fees at all!*  (This does not apply to note cards). 

What do we mean by “print ready?”

1. The digital file has been cropped so that everything that is visible is what you want to print (no frames or other objects present).
2. The digital image is sized to the size or sizes that you want the final print to be.
3. The look of the digital image (color/shadows/highlights/sharpness, etc…) all meet your approval.

In this way, you have control & responsibility over the final print.

* If you need for us to make adjustments on any of the 3 items listed above…OR…if you want a proof, the standard setup fees will apply.

So, get those cameras out & fire up your graphic software…You can E-Mail the images to us or burn them onto a disc & mail them to us.

Please call us (1-800-510-5235) if you need assistance with or further details on any of the technical issues discussed above.

PHOTOGRAPHS (snapshots) and PRINTS:  If all you have to submit is a photograph or print of your artwork, please keep in mind that these items are pixelated.  That means that our scanners will further exaggerate that feature.  When output as a print, the image may appear grainy.  Therefore, the size (if going for a print) may be limited.  We can assess this on a case by case basis upon receipt of the photo or print.

Of course, regardless of what you send to us in terms of art submission, there are always those pesky forms.  Not to worry, we work with "form - challenged" artists all the time; friendly help is only a phone call away 1-800-510-5235. All forms & price lists are accessible by clicking here

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