SYNOPSIS — Two-dimensional artists, such as those who paint with oils, acrylics, water colors and other media, are increasingly discovering the need to digitize their work, either for archives, or for reproduction. For many, it’s daunting, and for many more, they don’t know it’s daunting.

As a photographer with extensive skills in both areas, I am sharing a very general and basic overview of what’s needed, both in equipment and skill. This is meant to give you a foundation and help you head in the right direction for you. Considering that, it is still a fairly long article.

INTERACT: Please use the comment section at the end for any input — questions, comments or gestures.

THE PROCESS OVERVIEW

There are two distinct tasks to obtaining a high-quality digital replica of your two-dimensional medium.

• THE FIRST TASK

The first task is the capture — the act of simply getting your work off the canvas and into your computer. Primary tools: a camera or scanner There are two types of scanners: reflective (i.e., the most common, also called a flat-bed) or a transmissive scanner for film. Some believe that this is the only task … and for them, it could be. Many tasks can be considered “completed” by doing only the bare essentials, just to get by. The results will usually reflect that.

• THE SECOND TASK

The second task, in my opinion, is no less important than the first task. It is where magic is applied. Task Two combines art and science to create a virtually flawless replica, as well as providing the capability of moving beyond replication entirely. Primary tool: state-of-the-art, graphics-capable computer with lots of memory and storage.

In the previous paragraphs, I used the words "simply" and "simple," yet to achieve that level of success, I’ll be very candid: there’s nothing simple about it.   continue reading >>