Artist Guides
How to Prepare Artwork for Professional Scanning
A careful capture starts before the artwork reaches the scanner. A few small decisions protect the original and give the finished print a much stronger chance of feeling right.
© Erna Tunno
Start with the original, not a phone photo
Bring the original artwork whenever possible. A phone image is useful for discussing the project, but it is not a substitute for the original when the aim is a faithful print. The surface, edges, fine marks, and quiet shifts in color all tell the studio what needs to be preserved.
If the original has already sold or cannot travel, send the best file you have before ordering. That gives the studio a chance to assess whether the file supports the print size you want, rather than discovering its limits after the design has been listed for sale.
Remove frames, glass, and loose hardware
Most flat work is best scanned unframed. Glass can add reflections and hide surface detail. A frame can also make the artwork harder to position safely and squarely. Remove hanging wire, clips, and any loose backing material before the appointment.
If the work is delicate, unusually large, mounted, or cannot come out of its frame, say so before you bring it in. The right capture method depends on the object in front of us. Forcing fragile work flat just to fit a process is a bad trade.
Keep the surface clean, but do not over-clean it
A soft, dry brush can lift loose dust from a stable surface. Beyond that, leave conservation work to a conservator. Water, cleaning sprays, tape, and vigorous rubbing can permanently change a painting, drawing, or print.
Normal signs of age, texture, and handwork are useful references, not flaws to erase. Tell the studio what is intentional and what is damage, so the production file can be handled with the right level of restraint.
Bring the color reference with you
The original is the best color reference. If a particular red, deep shadow, paper tone, or small highlight matters to you, point it out at the start. Those details are usually more helpful than asking for a print to be generally brighter or richer.
When possible, look at the production proof beside the original in neutral daylight. Start with the largest color areas, then inspect the fine details. Specific notes make any adjustment clearer and protect the choices you make when it is time to reorder.
Decide the job of the edition before capture
Think about where the print will live. A small signed paper edition for a show has different needs than a large canvas piece for a wall, or a set of prints made to share family artwork. Decide whether you want open or limited editions, the likely size range, and whether a border is part of the presentation.
You do not need every answer before the appointment. You do need a sensible first use for the image. That helps the master file, proof, and final print all work toward the same outcome.
What to bring to your appointment
Bring the unframed original, any notes about the intended print sizes, and a way to identify the piece later. If the work is part of a series, label the back lightly or bring a reference list. Keep the original protected during transport with clean tissue, glassine, a sleeve, or a rigid portfolio as appropriate.
For a straightforward starting point, review the studio’s artwork scanning options before you visit. The goal is simple: leave with a clean, carefully made master file that is ready to proof and print.
Frequently asked questions
Should I remove my painting from its frame?
Yes, when the artwork can safely be removed. Unframed work is easier to capture squarely and avoids reflections from glass.
Can a damaged original still be scanned?
Often, yes. Let the studio know about tears, loose media, warping, or fragile areas before the appointment so the artwork can be handled appropriately.
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