So, figuring there would be someone out there a little smarter than me who had thought about this before, I came across this site - https://woobox.com/.
If you need some help then there is a very helpful video here – Pinnable Business.
Art House Reproductions, Leaders in Art Reproduction, Art Copy, art scanning, photographing art, giclee printing, inkjet printing and fine art reproductions. Also, mounting, laminating, acrylic mounts, custom framing. Helping Australian artists sell more art.
Helping artists make more sales without painting more through the use of Giclee fine art reproductions.
So, figuring there would be someone out there a little smarter than me who had thought about this before, I came across this site - https://woobox.com/.
If you need some help then there is a very helpful video here – Pinnable Business.
Have you ever wondered why some of your images look great on one monitor and lousy on another?
Did you know that viewing images in different browsers like Firefox, Safari, Chrome and Internet Explorer, may cause the same image to look different colours on the same computer?
Do you know about monitor calibration, colour spaces and ICC profiles? No?
This is the reason why prints of your photos or your reproductions may look different in real life to the images you see on your screen. I’ve tried to keep this really simple for the average person – if you are a pro photographer you should already be well aware of this information and have spent the appropriate dollars to calibrate your monitor properly.
There are many factors that can affect how you see your images but here’s a couple of the main ones.
YOUR MONITOR – All monitors come ‘calibrated’ out of the box but that calibration is not always correct for you and the work you do. Every monitor used to view images for correct colour should be calibrated using special tools like the Xrite i1Display Pro or the Datacolor Spyder4Pro. Without tools like these you can only guess at calibration your monitor and that can only end badly. We calibrate our monitors at least every month to ensure that what we see on our screens is what we end up with in print but there’s more to it than that.
There are three aspects to monitor calibration – Brightness, Gamma and White Balance (Colour Temperature). The amount of light in the room around you can also have an effect on what you see.
COLOUR SPACES - Don’t you just love graphs? All those pretty colours? But what do they all mean? Usually when I start talking about colour spaces I can see the eyes glaze over and blah,blah,blah, blah, blah, blah blah. Hey! WAKE UP THIS IS IMPORTANT!
Actually all you really need to know, unless you want to make a study of colour, is that we work in (and prefer) AdobeRGB but the files you view on the web are typically in sRGB. Why? As the graph suggests, you get a better range of colours in AdobeRGB than in sRGB. Most digital cameras capture images in sRGB but if yours gives you the choice, take AdobeRGB.
ICC PROFILES – I’ll keep this one short and sweet. In digital terms, all the colours you see are made up of a set of three colour values – Red, Green and Blue, ranging from 0 (black) to 255 (White). For example, here are some typical numbers…
You can see that Black is 0,0,0, and White is 255 and every colour in between is a combination of red (0-255), green (0-255) and blue (0-255) – that’s a lot of possible colours.
While these are the exact numbers for these colours, each paper we print on reacts differently to the way the ink goes down so we need to write an adjustment (an ICC Profile) for each paper that we apply before we print your image.
I thought about spending ages writing a really long article to help you calibrate your monitor but figured there would be someone out there who had already done it for me and I was right – check out these guys at
http://www.imaging-resource.com/ARTS/MONCAL/CALIBRATE.HTM to read more about calibrating a monitor.
You need to remember also that your monitor and a print will never look exactly the same because one has light shining out of it, the other reflects light but with the right calibration, and great printing like you get here, they will be pretty darn close!
As always, if you have any questions, leave a comment – somebody else is probably thinking the same thing!
Ever had a hard drive fail on you. If not, then you’ve probably never owned a computer! Most of my blog posts are inspired by questions clients ask me or problems they’ve had. This one is no different, two clients in three days with hard drive failures and no backups means that there are many of you out there getting close to being in the same boat!
Death, taxes and hard drive failures – they get us all. You need to be prepared for all of them but today I want to show you how easy it is to save your sanity in the event of a hard drive failure. I’ll leave the other two up to you to sort out.
There are a few things everyone needs to do right now if you don’t already have a backup plan in motion.
OK, that’s the bare basics and if you don’t do this right now then when you experience your next hard drive failure, you can’t complain about it.
Worried about the cost of those hard drives? Think about the cost of losing all the hard work and time you’ve spent creating all those files and what losing that information could cost you!
There are so many ways now that you can protect your data, having only one copy on one hard drive is just plain silly and dangerous. You need a system that backs up automatically so you don’t need to think about it. Here’s how I protect your images…
So at any one time I have a minimum of four copies of your files in two locations. I think that’s safe enough. I even do this for my personal family photos in fact I go one step further and have them uploaded to www.flickr.com so they are stored in the cloud and accessible to anyone who has permission. Due to the shear volume of art files, they are not stored online – the costs are still a bit prohibitive but as soon as that changes then that will happen too. The more copies I have the happier I am – I’m just too cautious.
P.S. I was just about finished writing this post and another artist came in and told me how they were setting up a new backup drive, formatting it first as you should but THEY FORMATTED THE WRONG DRIVE – 15 years, thousands of family photos deleted!!!! No Backup! Fortunately, they were able to recover most of the files using special recovery software but now they have to go through every image and rename it because when recovery software saves the file, it gives each recovered file a new file name, with no reference to what the original name was.
I’ve just had a client come in with 4 original paintings done by her mother. The paintings were involved in a family dispute and somehow were handed over to this person so she could have the works copied and make copies for other family members. I would love to show you the images because they were absolutely gorgeous portraits of girls with dogs and landscapes. The originals were over 70 years old and not in very good condition but that wasn’t what was important to the family. It was that these were Mum’s paintings and they were going to lose them forever!
As a typical artist, I imagine you’ve painted hundreds or thousands of artworks. Again, like most artists, you’ve sold pretty much everything and made your fortune, haven’t you? If this is you, then this post won’t interest you, just go off somewhere and figure out how you’re going to spend all that cash!
If you’re still reading then you must be one of those very few artists that don’t sell everything they produce right? If that’s the case, have you thought about what’s going to happen with all your art when, well, you know, it’s all over?
What would you like your family to do with your art when you’re gone? What value will your art hold with family members? Who gets what? Who doesn’t get anything? Well that all depends on how you document it and prepare now.
I would suggest that the first place to start is to do a stocktake of your creations. If you already have a catalogue system in place then this will be pretty easy. Make sure someone else knows about and can find and understand your system. No good having a complicated system with codes only you can understand, and having it hidden away where nobody can find it! Share it with those that will need to know.
I’ve spoken about recording your art recently. I don’t believe I’ve seen anything in any software package that talks about Estate Planning, which is what we are talking about here. You can probably add categories to some of them that should help sort out the problem.
Sign it! Make sure all your originals are signed, even if you don’t like them all that much and may have even considered painting over them or throwing them out. They will be worth more signed than being attributed to that great painter A. Nonymous.
Title It! Give it a name and in your catalogue system, give it a description to make it easier for others to find.
Explain it! Have you ever looked at a painting and wondered what the hell the artist was thinking? Leave some clues. Tell the story behind the painting.
Price it! Give it a value from your perspective so that others have a guide as to what it might be worth to a collector. The person handling your estate may have no clue about your contribution to society as an artist and how your works might be valued. This could make a big difference to what’s left to share around the kids.
Well that covers most of the art stuff, now, what about you?
Is your biography up to date? Go through what you already have, fill in any gaps. Again, tell the story from your perspective. Nobody can tell your story as well as you. These days, there are some exciting ways to record your own personal information. The old fashioned way is to write it in a book, you can get creative on a blog, create your own ebook, write a simple word document or go all out and create a video of yourself talking about your art history as part of your legacy.
Think the video thing is a bit vain? Get over it, think what it would be worth to your kids if nobody else.
A few other points…
* Be sure you have a list of where your art is displayed so the family or executor can find it.
* Never assume people will know what to do with your art, leave clear instructions.
* Talk about all of this before its too late – let others ask questions so they understand your wishes.
If everything is clearly documented and explained, it will prevent infighting, arguments, legal disputes over who controls what, like the situation that instigated this post. Take charge now and control of your life’s work.
Certificates of Authenticity are much more than little bits of paper that you stick on the back of a reproduction.
A COA is a critical part of authenticating your artwork, whether it’s representing a fine art reproduction or an original. While a COA is not formally required to prove that an original work is genuine, it adds value and offers the client some relevant information and assurance about the piece.
In relation to Limited Edition Reproductions, a COA helps to ensure that the reproduction purchased is an authentic and authorised copy of your original work. There are no laws or authorities who are qualified to write certificates for you that I can find. So it’s up to you.
If you are going to offer high quality Limited Edition Reproductions, I believe you should provide a certificate that is worth the paper it’s written on and worthy of the reproduction itself. I used to suggest that artists create and supply their own certificates but I think that may have been a mistake. I have seen a few of them and while some are quite good, it’s the printing of them that worries me. The vast majority of you will be printing your COA’s on home printers using dye ink which lasts a couple of years – nothing compared to how long your reproduction will last.
OK, I’m in the printing business, so I’m always looking for new business, let’s be honest, so what I’m about to suggest, in one way, is an attempt to get you to spend more money with me. However, I won’t be making my fortune from printing certificates, let me tell you why. They are fiddly things to prepare, lay out, print and cut and each version is personalised. A lot of time and effort for very little return.
But you know what? That doesn’t matter as much to me as your work arriving in your clients hands in the most professional manner.
So here’s the deal. I will prepare your personalised Certificate of Authenticity, like the example shown here, with your contact details, then print a batch of 40 certificates (15 x 21cm – one image) for $60 on our least expensive, but still fully archival 230gsm Matte Photo Paper – That’s a bit less than half price and no setup fee! Now, if you want individually customised certificates, printed individually, you will need to contact me for pricing.
The certificates will have your contact details and mine, your signature and mine, the image title, edition number, media and ink details and a statement confirming the legitimacy of your reproduction.
Ask yourself… Do you think your clients will like this?
Fear is what stops most people doing the things they know they should and can do. Often the things we fear most will never happen but it holds us back from where we really need to go or who we really need to be.
I got an email from a client the other day after she’d been reading one of the blog posts. She said that she’d finally plucked up the courage to contact a well known gallery and ask them to sell her work. She’s filled in their form and is waiting to hear back.
Now, we are talking here about an accomplished artist, her work is fantastic, it sells well, she has very successful exhibitions every year and she has had around 70 works photographed by us. She had been putting off this contact for ages out of fear.
My reply to her email was simple. ”How hard was it really?, What’s the worst that can happen – they say no. What have you lost? Nothing.”
There are a lot of things you can choose to fear – rejection, public speaking, selling, asserting yourself, making decisions, heights, loss, or even, of being too successful!
All fears can be overcome. I will never forget when my wife and I visited Kings Canyon in Central Australia and we did the Rim Walk. Dawn has always been afraid of heights. She was challenged that day and came away a stronger person because she faced the fear and did what she had to do – it was that or walk back alone… well, not really, I wouldn’t really have sent her back alone.
Anyway, Dawn had to face three challenges that day. The first was shortly after we climbed to the top of the canyon. There was an area with deep crevasses that had to be jumped across, only about a metre wide but you couldn’t see the bottom. As everyone else easily skipped across them and headed on their way, Dawn stood frozen, not being able to take that leap. Finally with a lot of encouragement and some hand-holding (I’m good at that) she managed to spring across.
The second challenge came with a set of stairs, much steeper than most, back down into a side canyon. Taking two steps off the rim of the canyon onto those stairs took nearly 10 minutes – then going down the stairs themselves took a while. Surprisingly, going back up the other side was not a problem.
The third and final challenge was when we all got the opportunity to lie on the edge of the cliff face and look over the edge. I think they’ve stopped people doing it now because of crumbling edges and a good chance you could get a closer view than you expect of the bottom of the canyon. Dawn stood there for a while, almost shaking but did not want to go home without experiencing what the rest of us were doing. Eventually, she lay down on her stomach, and with my hands firmly clasped around her ankles, she started about 3 feet back from the edge and gradually wiggled her way forward so her head was just over the rim… then lay there for 5 minutes basking in her glory… and the beauty of the canyon that she would have missed!
So the moral here is this… you can miss out on some great experiences in life, and business, if you allow fear to control you. The vast majority of the time, the things you fear most never actually happen. So why not just suck it up, feel the fear and do it anyway. You just might surprise yourself!
P.S. If you want to learn how to control your fears, get yourself a copy of the book “Feel the Fear and Do It Anyway” by Susan Jeffers.
Can you remember the name and details of every piece of art you’ve ever painted, every client who’s ever bought work from you, every piece you’ve donated, every competition you’ve entered and gallery you’ve left work with? Is all this information in your head or written down somewhere?
If it’s in your head, you’d better pray nothing happens to you! Keeping written records is important for so many good business reasons but in a worse case scenario, something happens to you, it could make life easier for someone else to sort things out. “How” you keep those records not as important as “Why” you keep them. The ‘how’ can be as simple or as complicated as you want.
If you haven’t yet jumped completely into the digital age, then it could be a box of 7″ x 5″ index cards. With all the systems available digitally though it just makes sense to use one of them. It could be a simple Excel Spreadsheet, a custom designed software package or something in between like Evernote? Experiment until you find what works for you.
Why should you keep records?
If you’ve been painting for a while, and you’re not the organised type, you would know that it’s pretty easy to lose track of pieces. You send something off to a gallery and forget about it until one day someone tells you that gallery closed down and you suddenly think “didn’t I have something with them?” but you can’t remember what.
Every business needs systems – systems make life easier. Yes I know you creative types don’t have time for the logical and tedious work required to set up a system and maintain it but to operate a successful art business, you MUST!
So, what system will work for you. There are all sorts of software packages out there now designed for keeping records of art – I’ve listed a few below.
The first three on the list are all paid software systems and they offer free trials so if you aren’t using anything now, download them and give them a go. OK, these are all designed by Americans but can be used by Aussies as well.
As you know, I’m not an artist but I use Evernote to keep a lot of my records – in fact if you are a client of Art House Reproductions, I have notes about you in my “Clients” folder. The thing I like about Evernote is that I have access to my information anywhere, anytime. From what I can tell, the other three only work on the computer on which they are installed, that is, no mobile version.
Evernote won’t do all that these packages above can do, as easily as these will but it all comes down to what you need. For example, Evernote will allow you to keep photos you take through various stages of the painting in the one note. I think Flick is the only one of the other three that allows that.
The most important thing you need though is to have some sort of record of your work. Do something about it now!
There are a lot of misconceptions about copyright. Fortunately there are organisations out there who know the rules and can answer your questions and possibly keep you out of trouble.
Let’s keep it simple for a moment…
Here’s two links that might save you some time, money and heartache should you ever think about using someone else’s images.
The Australian Copyright Council - this link is to a set of their most common questions, lots of good information here.
Arts Law Centre of Australia – again, a great list of common questions.
I think one of the biggest misconceptions out there is that you can use an image if you change it by more than 10%. WRONG!
The Art Law Centre covers this briefly but it’s quite simple. Firstly, you ARE copying someone’s work – even if you change 90% of it and the remaining 10% is the key part of the original image and still recognisable as such, you are breaching copyright.
Copyright is a sale-able product. Let’s say your normal policy is to have all your originals (even commissions) photographed and put into production so you can sell reproductions and increase your income. Then someone comes along and says they don’t want you to do that with their painting. They want to deprive you of income.
You have several choices…
Always keep in mind that just because you are an artist, you are also running a business – you need to make a profit to stay in business.
Another important point to remember about copyright from a business perspective. Copyright is held for 70 years after the death of the copyright holder. It is a will-able and transferable entity so when you die, you can pass copyright on to your children. They can then continue to sell your originals or reproductions and sign them on your behalf as the current copyright holders. What a great legacy to leave your children!
I was chatting with a new client the other day and the subject of contracts came up. Now, remember, I’m not an artist or a lawyer but I do know that if you want to keep out of trouble it’s best to have things in writing where money is concerned.
Below is a very simply agreement that every artist can use as is, or amend to suit your purpose. Remember, this is not meant to be a 47 page document of legal mumbo-jumbo, but a simple, one page agreement (sounds better than “Contract” but that’s what it is). Keep it simple, keep it clear and easy to understand.
I feel these are the basic points you need to cover in any commission agreement and I’ll explain a few of them so you are clear on why they are there. If you already use a contract/agreement and have some special point you feel should be included, please let us all know by commenting below.
1. The Artwork - Describe the dimensions and medium of the artwork to be created. Will it be paper, canvas (stretched, rolled), framed, watercolour, pastel or oil?
2. The Concept – What do they want you to paint? Get it in writing from them before you fill in this section. Ask them for as much detail as possible. If they write it down, the assignment will be clearer for you and you shouldn’t miss any important points!
3. Agreed Price – Discuss the price upfront. Be confident and be sure to charge enough for your expertise. Remember, the more difficult the task, the more it should cost. The price should include GST and this should be stated in the agreement.
4. Payment Schedule – The money is always the hardest part for most artists. You must get some payment up front to cover expenses and confirm the agreement. This should be called a “NON-REFUNDABLE FEE” which must be paid before the work will commence. Do not call it a deposit - deposits are refundable. I’d suggest a minimum of 30% up to 50% should be paid to start work. You are in business after all. So break it down into “Non-refundable Fee” and “Balance owing on Completion”.
5. Estimated Completion Date. This one will vary from artist to artist, some of you paint quite fast, others take a little longer. Your current workload will dictate how long it could take but giving your client an estimated date will let them know that you plan to have it finished at some point. If something happens and that date looks impossible, contact them early enough to allay any fears.
6. Standard Copyright clause. This advises them that they must not copy your work and that you have the legal right to use the artwork to create reproductions and generate more income for your business if you so desire. HERE’S THE IMPORTANT BIT… If they don’t want to agree to this clause, then you have two choices… 1. Do not accept the assignment or 2. Charge them extra for the privilege of keeping their image unique. Remember, if reproducing your work and selling reproductions is standard practice in your business, then their request is costing you money! Also keep in mind that Copyright can be sold or licensed but we’ll save that for another time.
7. Right of Refusal. Ok, so what do you do if it all goes pear-shaped and they don’t like it? Be prepared. Decide in advance how you will handle this situation. Have several options to offer them -
REPAINT – costs you more time and money and should only be required if you’ve completely stuffed up the brief.
RETOUCH – if there are only a few little things that concern them and you can fix them, do so. A happy client will talk abou the trouble you went to getting it right.
RETREAT – If they decide they want out for whatever reason, and it will happen, then simply refer to Clause 7 in your agreement, say thanks very much, keep the painting and the money paid so far.
Custom Art Commission Agreement
This Agreement is made the _________ day of _____________ (month), _____________ (year),
by & between:
(The Artist) Name: ____________________________________________________________
Phone: ___________________________ Email: _________________________________
(The Collector) Name: _________________________________________________________
Phone: ____________________________ Email: _________________________________
Agreement between Artist & Collector as follows:
1. The Artwork:
2. The Concept:
3. Agreed Price:
4. Payment Schedule:
Non-Refundable Fee -
Balance Owing -
5. Estimated Completion Date:
6. Copyright: The Artist retains the copyright to all works commissioned and created for the Collector, including all reproduction rights and the right to claim statutory copyright. No artwork may be reproduced or altered without the written consent of the Artist.
7. Right of Refusal: In the event that the Collector does not wish to complete the purchase the commissioned artwork, the Collector may refuse. In that case, the Artist will retain the refused artwork and the non-refundable fee. The Collector will owe no further monies to the Artist. The Artist may use the refused artwork in any way they see fit.
Agreed to by both the Artist and Collector as per the date above.
So, have I missed anything? What are the “MUST HAVE” points in your agreements? Let us know.
How often have you been asked to supply a “High Resolution File” for an art competition or a publication or web site and to send it via email?
I have artists ask me all the time to supply them with files for this and that and I find myself asking the same questions each time and getting confused responses most of the time. So this article will try to arm you with a few simple questions to ask those who ask you for files.
There are some complex things to talk about here and the technical stuff may not be your bag but bear with me, read it through and if you have questions, email me, please.
PPI and DPI – they sound the same but are they??? The short answer is NO!
PPI stands for “Pixels Per Inch” and DPI for “Dots Per Inch”. A pixel is not a dot. Pixels relate to digital images as seen on your monitor and captured in your camera – the more pixels per inch, the sharper, more detailed image you have. Dots relate to the droplets of ink your printer spits out of the print head and its ability to print those images in detail – the smaller, finer and higher number of dots per inch, the cleaner, sharper, better quality print you will get IF the image is of sufficient quality to begin with.
You can read more about this topic here – Pixels and Dots
FILE SIZE – How big is a high resolution file?
As you know, when we copy artwork with our 1200megapixel camera, we end up with files anywhere from 500megabytes to 1.2 Gigabytes! Now that’s simply the space they take up on our hard drive. Until we look more closely at the details, we really don’t know what size print these files will make. We need to know the size of the image in PIXELS, then choose our optimum PPI (typically 300 for quality).
Let’s say you just lashed out and bought the new Canon 650D, 18megapixel camera. The thing to note here for this discussion is the number of pixels making up the sensor for this camera – its 5184 x 3456. If we divide each of these numbers by 300 – we will get our printable image size at 300ppi – 17.28″ x 11.52″ (51.3megabytes) – a whisker larger than A3. This means that if you use this camera to copy a 20″ x 30″ original, the file will need to be enlarged considerably to produce the same size.
So let’s use a typical sized original artwork as an example and list all the options…
Let’s say your original painting is 20″ x 30″. When we photograph an original that size, our camera will capture it at 12,000 x 18,000 pixels. Because we always save everything at 300PPI, we can then determine that the actual print size will be 40″ x 60″ (12,000 divided by 300 = 40, 18,000 divided by 300 = 60). The space taken up on the hard drive is 618megabytes. This is not a file you could send by email – way too big!
Even if we reduce your image to it’s original size of 20″ x 30″ (6000 x 9000 pixels) – the file size is 154.5megabytes. So, do you see how the pixels relate to the image size here?
Let’s make things a little more interesting – let’s say we lock in the number of pixels at 6000 x 9000 but we change the PPI to 100 instead of 300…
6000 / 100 = 60
9000 / 100 = 90
Remember our image is still locked in at 6000 x 9000 but we’ve spread those pixels out to only 100 in every inch instead of 300. Now our image has jumped in size to 60″ x 90″. That’s great right, we’ve got a really big image! Not quite – you see, the human eye can see up to almost 200pixels per inch, that means that (if you have good eyes) you will see the pixels when you look closely at a 100PPI image – you won’t see pixels at 300PPI.
Let’s try something else – let’s lock in those pixels again and make the image 600PPI…
6000 / 600 – 10
9000 / 600 – 15
Now the huge image we had before with the pixels spread out to 100PPI is crammed up into 600 pixels every inch and now only measures 10″ x 15″. Is this a good thing? Not really – if 300PPI is enough to get the quality we need then we don’t need any more. You simply will not see any difference between a print made at 300PPI or one at 600PPI. But you will see a difference with one made at 100PPI or more typically 72PPI.
Check out this diagram showing all the sizes we’ve discussed here…
- GREEN – Original Image size – 20″ x 30″ – 6000 x 9000pixels – 300ppi
- RED – Our scan – 40″ x 60″ -12,000 x 18,000pixels – 300ppi
- GREY – 60″ x 90″ image – still 6000 x 9000pixels – 100ppi
- BLUE – 10″ x 15″ image – still 6000 x 9000pixels – 600ppi
Next Topic – FILE TYPES and how do they affect your image.
There are a few common file types that you will come across when dealing with images. I’ve posted about these before so here’s a link to that post…. Raw, Tiff or Jpeg – What is Best?
Bottom line – the ONLY time you should use JPEG is when you are saving a copy of the image for web or email use, or as the last step to sending a file to us for printing. Always save your files in the TIFF format where possible or PSD if you use Photoshop to preserve the quality of your original file.
I will add one more explanation here comparing JPEG to TIFF or PSD. We save all your files as either TIFF or PSD – this gives us the ultimate quality. If you purchase the full file from us, we will supply you with a full file in Tiff Format, usually a smaller file, around A3 in Tiff format and a much smaller, JPEG file for web use. We only ever use JPEG when supplying images for web use. Why? Because you only need small files for them, they need to load fast on the screen otherwise people get bored and won’t look at them.
When we email you a JPEG file around 1megabyte – it will actually open in Photoshop at around 3-5megabytes depending on the range of colours in the image. Remember JPEG compresses the image and throws data away to make it smaller, then tries to regenerate what it thinks is right when you open the file again.
Often people ask us for a 300ppi image but what they don’t tell us is the size of the image. Ideally we need to know either the physical dimensions of the finished print OR the required Pixel dimensions if the image is for web use only.
So now we finally get to the point of this post -
What questions should you ask when a third party has asked you to send them a file for competition, publication etc.? If you can get the answers to these three questions, then you will know exactly what size and type of file to provide.
Question 1 – What file type do you want – JPEG, TIFF or other?
Question 2 – What PPI do you want?
Question 3 – What physical size do you want to print the image or what pixel dimensions do you want?
Question 4 – What Colourspace do you want – sRGB, AdobeRGB or CMYK?
OK, I lied, there are four questions there – the wrong colourspace will change the colour of your image in print mainly. Colourspace issues are something for another post so I won’t go into it this time. Suffice to say, if you ask these questions, and they can actually give you intelligent answers, you’ll be on the right track to supplying the perfect file for the job.
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