The Qoro Process

The following steps outline the Qoro process for crafting a Qoro Replica™ brand giclee. Following this procedure will insure the best possible results. As always there are alternatives to each step so feel free to call with any questions you may have.

Step 1
We receive and inspect the original work of art. If the original is framed we remove it from the frame to prevent shadows from occurring in the file during the lighting process. The artist provides Qoro with size and edition information for the replicas.

Step 2
This is a critical step in the reproduction process. The digital file is the keystone that the successful execution of every other step is dependant on. There is a direct correlation between the quality of the starting file and the quality of the finished giclée.

At Qoro the original is digitally photographed or imaged using a large format digital camera. This camera allows us to image every medium that artists work in, including pastels, because nothing comes in contact with the surface of the original. There is no need to invert the artwork, which is the case when using a large format scanner. There is also no need to remove canvasses from stretcher bars which is the case when using a drum scanner. In fact we have even imaged oils that were still wet.

There are three other factors which make this particular camera superior for digital imaging.

The first is that the operator has full control over tonal and color characteristics. Frank has imaged over 3000 pieces and this control insures that highlights are not blasted and shadow detail is not lost. It also insures that there are no major color casts in the hues.

The second factor is focus. Perfect focus is accomplished using the computer, not the human eye. The computer is so accurate that brush hairs and even finger prints in the paint have been recorded and are visible in the digital file and on the finished giclee.

The third factor is lighting. Lighting is mapped and recorded in the computer. The computer then balances the light creating uniformity across the entire surface of the artwork. This eliminates dark and light patches in the finished product.

Step 3
A copy of the raw file is saved and maintained for 1 year. Another copy of the file is sent to the work station. At the work station digital defects are removed and the color correction process begins. Technology is good, but the human element is critical in this step. The human eye can see many more colors and tonal variations than the computer can display. In fact there are only 255 tonal variations that range from darkest to lightest, the human eye can detect that in the shadows alone.

It is Frank's job to overcome the technological handicap that occurs as the file is moved through the various color spaces. Frank will be the first to tell you, "If it was a simple as pushing a button everyone would craft great replicas". The simple truth is it takes a tenacious attitude, a love of art, and experience as an artist to make a great replica. The process that Frank uses involves printing a proof, comparing it to the original and adjusting the color. Then he repeats the process as many times as is necessary to match the original. We all joke about the pieces that have taken as many as 30 proofs before Frank is pleased with the outcome. Working files are saved and maintained for at least a year.

This process is only possible because of Color Management Software or a RIP. RIP stands for raster image processing. The RIP software contains color profiles customized for the inksets, printers and substrates used to produce a replica. Basically the RIP interprets the individual point values of RGB color in the digital file using predetermined mathematical equations into the CMYK color space. This determines how the printer will apply the ink to the substrate. We use MAC's to color correct because the Apple architecture makes them ideal for image manipulation. We use PC's to RIP the files because, to be perfectly honest, they are faster at math. So a file is transferred from the work station to the RIP for processing. Then from the RIP it is printed.

Once Frank is happy a final full sized proof is prepared for the artist to look at. It is not uncommon for Frank to throw in just one more proof after comparing a full size proof to the original.

Step 4
The artist or client compares the original to the proof and has the opportunity to fine tune any color adjustments. In most cases the amount of work that has gone into the original color adjusting process alleviates the need for further color adjustments and the artist has their first print. Click here to see an original compared to a final proof.

Step 5
The approved file is saved to a raid storage system. This particular Raid is configured so hard drive failure can occur without any loss of data. The raid is regularly backed up to a portable system and stored off premise in case of a catastrophic event. The artist can call and order re-prints or other required files at any time in any quantity.