Print workflow
Step-by-step for quality
By Stephen Romaniello
Geber86 – stock.adobe.com
I think many people have the idea that making a quality print is simply a matter of displaying an image on screen and then clicking the “Print” button. Like magic, a brilliant image is transferred to paper by a large-format printer. Anyone who has operated a high-quality inkjet printer would certainly balk at the misconception that achieving print perfection is easy.
The high-quality print is the final representation of a lot of work. From concept to composition to color correction, each step in the workflow requires a great deal of skill and attention to detail to produce the best results. The amount of time that goes into refining and preparing digital images for print can be substantial. In the final analysis, the output represents the input.
As you probably know, producing quality prints is an expensive proposition. The cost of the printer and peripheral calibration equipment, software, and the labor for maintenance can be substantial. Basic materials like ink-sets and paper are quite pricey. It is therefore critical to set up a workflow where waste is reduced to a minimum.
This article explains the step-by-step digital graphics workflow from onset to finished product and offers some advice as to how to best manage your images during each part of the process.
Image capture
The graphic workflow begins with acquiring source images. Digital camera photography is obviously the most direct and creative way of capturing images. Preferably images should be shot in RAW format, enabling the camera to collect as much image data as possible. Aside from high-end digital SLR cameras, other means of photography are commonly in use. Aerial images are captured with drone cameras, a common practice these days, and many images are shot with easily accessible and surprisingly good quality smartphone cameras.
Scanning is a common image capture method for digitizing hard-copy photographs, artwork, or documents. Scan images at least 300ppi at 100% scale to prepare them for high-quality output.
We can’t forget the convenience of stock photography. Images are available for purchase from dozens of stock photography websites such as iStock, Shutterstock, or Adobe. These images are made by professional photographers and usually require little or no color correction or editing. Make sure that the images you purchase are at least 300ppi resolution.
Vector artwork created in programs such as Adobe Illustrator or CorelDRAW should be converted to JPEG or TIFF format before outputting to a printer. Of course we can’t forget AI-generated imagery, available via text prompts to many databases such as Adobe Firefly (integrated into Illustrator and Photoshop), Midjourney, or Google Gemini.
Images courtesy of Stephen Romaniello
Figure 1. Adding metadata and camera data to the image file.
Figure 2. A colorimeter determines the temperature of the colors that the monitor displays and converts the data into an ICC profile.
Organize
Once the image is captured, the next step is to organize files to a project folder. This is an important step that is frequently ignored. It guarantees easy access to the files when they are needed. Typical tasks include renaming files so that they are clearly and instantaneously recognized, backing up the originals, adding metadata to imbed images and camera-related data to the image files (Fig. 1), sorting to specific project folders, and creating working copies.
Monitor calibration
Before you begin edits on any image, calibrate your monitor using the calibration software that is bundled with your operating system, third party software, or, best of all, a colorimeter, a device that determines the temperature of the colors that the monitor displays and converts the data into an ICC profile (Fig. 2). Monitor calibration adjusts the gamma, brightness, contrast, and color balance of the image the monitor displays. Calibration will provide the best possible onscreen image.
How to calibrate Mac:
- Assign a Monitor profile to the display. Choose the Apple menu > System Settings, then click Displays in the sidebar.
- Click the pop-up menu next to “Color Profile,” then scroll down to Customize.
- The color profile for your display and a list of other color profiles appears.
- Click the plus sign to open Display Calibrator Assistant. (Figure 3)
- The Display Calibrator Assistant walks you through adjusting your display, then creates a color profile.
The number of adjustments in the calibration process varies depending on the type of display. When the display profile is ready, it’s automatically assigned as your monitor’s color profile.
How to calibrate Windows:
- Press Windows Key+R.
- Type dccw and press Enter to launch the Display Color Calibration Wizard.
- Follow the wizard’s prompts.
Figure 3. You’ll find the calibration software on a Mac in the System Settings Displays interface.
Figure 4. To calibrate the image for best output using calibration software, assign a wide gamut RGB ICC profile such as Adobe RGB 1998 to the image.
Image calibration
The image must also be managed for best output. To calibrate the image using calibration software, assign a wide gamut RGB International Color Consortium (ICC) profile such as Adobe RGB 1998 to the image or use a specific printer/substrate ICC profile that is available from the printer manufacturer. These profiles are loaded into a folder when you load the print driver and are accessible from the Color Settings dialog box in Photoshop (Fig. 4) or Corel PaintShop Pro. They are made for the specific brand of printer’s ink set and the paper surface that you choose. If you are printing to paper other than that produced by the printer’s manufacturer, you can frequently load profiles from the paper company’s website.
The best solution to accurately create a custom profile for your printer and substrate is to use a hardware device called a spectrophotometer. A color target document consisting of swatches of a full range of colors is printed to the specific substrate and then scanned with the device (Fig. 5). The data from the scan is recorded as the ICC profile for the specific printer and substrate.
Image processing
You may see dramatic changes to the image’s color when you assign the printer profile. A typical workflow includes adjustments to exposure, white balance, contrast, color correction, lens distortion removal, noise reduction, and sharpening that will correct and enhance various color deficiencies. These color altering processes are usually performed using Adjustment features such as Levels, Curves, Color Balance, Hue Saturation controls and specific filters, or the Camera Raw interface (Fig. 6).
Figure 5. A color target document consisting of swatches of a full range of colors is printed to the specific substrate and then scanned with the device.
Figure 6. Color-altering processes are usually performed using adjustments such as Levels, Curves, Color balance, Hue Saturation controls and specific filters, or the Camera Raw interface.
Retouching
Before printing, more detailed editing is often performed. Some common tasks include the removal of unwanted objects or people, replacing or refining backgrounds, compositing multiple images, skin retouching, repairing damage, and AI-assisted enhancements like colorization or stylistic modifications. These tasks are implemented using specific tools and filters that modify picture content and intuitively match existing areas. Adobe Photoshop and Corel PaintShop Pro are the typical software packages that offer these features.
Layout & design
Sometimes image elements are assembled into a final design like an ad, a poster, a billboard, etc. destined for print output. Elements including photos, logos, text, colored backgrounds, bleeds, and trim marks are composited in software programs like Adobe Photoshop, Illustrator, InDesign, Corell Draw, or PaintShop Pro. The layout usually relies on the skills of a graphic designer for composition and balance. Once assembled, the artwork is saved to a printable format like JPEG, TIFF, EPS, or PDF or a native format like PSD and is ready for output.
Proof it
Before committing the image to a large format printer, it’s advisable to print it to a color laser or desktop color inkjet printer. If it’s a large-format image, and your printer can print tabloid size, print the image to an 11" X 17" tabloid layout. If not, then print it as large as possible. Choose the Scale to Fit Media option in the Print dialog box to reduce the image to a printable size. Choose either the Portrait or Landscape option depending on the image’s proportions.
Scrutinize the laser print carefully. Seeing the image on paper will give you additional perspective than just seeing it on screen and you’re likely to observe minor errors in composition and typography. Don’t be concerned with color at this stage. The laser print will no doubt distort the colors displayed on your screen. It’s simply a proof to examine the physical aspects of the picture. Make any changes that are necessary.
Figure 7. Choose the printer from the menu, specify that the software manages color, and choose the profile for your paper and ink set.
Figure 8. When printing is initiated, the file enters a RIP that optimizes print quality.
Duplicate & flatten
Duplicate the image and flatten its layers. Flattening the image will reduce the file size and hasten processing when it comes time to make the final print. Do not flatten the original image so that you can make layer specific changes if necessary.
Printing
Turn the printer on and follow the prompts. Usually this can take some time as most large-format inkjet printers go through a cleaning cycle when you start them. Wait for the auto nozzle check to complete. On the printer, choose either roll paper or sheet paper. Printers usually signal when another cleaning cycle or head alignment is necessary. They will also indicate the status of the ink reservoirs. If one is nearly empty the icon of that specific color will blink or display an exclamation point. If it’s completely emptied the printer will not operate. Open the paper tray and make sure that the paper is the correct size and is loaded correctly. Expand any trays that support the final print when it is output by the printer so that it doesn’t fall on the floor.
On your workstation choose File>Print to display the print dialog box and choose the specific printer from the Printer menu.
Color management
The default print mode is Printer Manages Color which usually produces an unmanaged print and relinquishes color control to the print driver. To apply the profile you selected, you’ll need to specify that the software Manages Color. (Fig. 7) Click the radio button and choose the profile for your paper and ink set.
You can create custom sizes by clicking on the Manage Custom size option This is helpful for printing to roll paper but be sure not to exceed the roll paper’s maximum width when you create a custom size.
Finally, click the Print radio button.
Figure 9. Check the status of the print.
RIP processing
When printing is initiated, the file enters a raster image processor (RIP) software that converts vectors and text into printable raster data, applies printer ICC profiles, controls ink distribution, generates halftones and color separations, and optimizes print quality (Fig. 8).
Print status
The printer will start making odd noises like buzzes and snaps as it processes the image, but don’t worry, it’s gearing up to deliver a perfect print the first and every time. Check the status of the print by clicking the Print Monitor icon on your desktop (Fig. 9).
Finishing
After printing, the graphic may undergo post-output procedures including drying and curing (depending on the type of print), lamination, mounting, contour cutting, sewing, grommet installation, or vehicle wrap panel trimming.
There are certainly numerous commercial uses for large-format prints. The final print may have to be rolled and shipped or mounted to a rigid substrate. It may be installed as signage or a banner or applied as a vehicle graphic. It may be displayed in retail environments or installed as a tradeshow exhibit or appear on the side of a car or bus. Large-format prints are even used as set pieces for theatrical productions.
Control
professional print workflow from image capture to output and beyond, demonstrates procedures that you can expect to encounter on a daily basis. The controlled environment that produces the best quality prints requires a little extra work. Paying attention to these details guarantees a savings of time and labor and avoids the cost of wasted materials. The bottom line is that these steps provide a much greater level of control.
Stephen Romaniello is an artist and educator who has taught graphics software for over thirty years. He is a certified instructor in several graphics and video applications and the author of numerous books and articles on the creative image manipulation, illustration and media programs. Stephen is the founder and CEO of GlobalEye Systems, a company that offers training and consulting in graphics software. He is also the founder of Fire Boy Productions, an art-book publishing company.
