Fine Art Scanning With Uberscan

The Uberscan is purpose-built for fine art scanning and reproductions, designed to scan art without contact and with great colour fidelity and even sharpness.

There are very few flatbed scanners that can scan originals larger than 11”x17”, and those are usually geared towards engineering/architectural use (i.e. they are neither optimized for colour reproduction nor for high resolution). Flatbed scanners also typically require originals to be placed face-down on the scanner, often eliminating them as an option for delicate, highly textured work.

Other so-called large format scanners use pinch rollers to advance the original in scanning, thus subjecting art to potential damage. In addition, the variety of lighting modes are out of reach for these other contraptions.

Lastly, some services utilize high-resolution cameras to create digital captures of artwork. These cameras can capture artwork at a very high-resolution, however, this method of scanning requires a very specific set-up to achieve results suitable for reproductions. Depending on the size of the original, scans may also require multiple pictures that are digitally stitched together, making this a potentially time-intensive endeavour. Without the right technical set-up and expertise, these scans can require a lot of post-production work to be usable in fine art printing and reproductions.

Our scanning bed is sized to 90" x 60", with a weight bearing limitation of 250lbs. The height of the original cannot be more than 12 inches.

We are also able to scan oversized art in sections, with the final image digitally stitched together.

Uberscan produces digital images in industry-standard TIFF format (available options are: 8 bit RGB, 16 bit RGB and 16 bit grayscale). Scans are delivered in Adobe RGB space. These can be opened by any imaging application on your computer, and can produce anything from a small print to a large display.

Together with your TIFF file, you will also receive a jpeg preview image, suitable for sharing online (email, web, etc.).

Our standard turnaround time is 2-4 business days, depending on our current production schedule.

We will email you a download link to retrieve your scanned files. The download link will remain active for a few weeks. If your link has expired, please reach out to us.

Technically, yes, but only for the purpose of being available to you should you need files re-sent in the future.

Note that requests for files beyond 3 months old may incur an archive retrieval fee.

Most of the time no preparation is necessary. We usually just recommend trying to keep your artwork flat (very curly originals may take extra time to allow uncurling).

We recommend scanning your paintings prior to varnishing. Varnish is often reflective and can cause glare in the scan, requiring additional time to process your files. Depending on the amount of processing required, you may be charged a digital imaging fee.

Because of the unique design of the Cruse, it can be programmed to clear reasonably deep ornate frames, therefore precious artwork can be left untouched. Minor cropping may occur due to the slight shadows cast by the thick frame.

For artwork framed under glass, again the cleverly designed Cruse can scan through glass without reflections with the only caveat being the inability to clean the underside of the glass and the encased artwork. Additional charges may incur for additional and/or unusual handling.

Flat scanning is perfect for capturing originals where surface detail is irrelevant and/or needs to be suppressed (e.g. when the goal is to de-emphasize strong impasto brush- and knife-work and smoothen texture).

Flat lighting is also appropriate for scanning old, scratched, wrinkled or otherwise damaged materials, since it does an excellent job hiding tears and imperfections. Flat scanning can even be performed on framed art, without dismantling the frame.

On the other hand, texture lighting allows for incredibly lifelike captures of original artwork. The angle and spacing of light from each direction can be separately controlled, so that support and medium textures (e.g. canvas patterns, impasto, chalk strokes, etc.) can be revealed in ultimate detail. Unwanted highlights and reflections can be effectively suppressed, even on highly glossy media, heavily varnished pieces, etc.

The prints from texture lighting scans display uncanny realism and, for the lack of a better word: three-dimensionality. Thus, this approach is the best for oil and acrylic on canvas or board, fabrics, mixed media, gouache, pastels or chalks with heavy coverage, collages, etc. Our texture scanning lighting setup can even be successfully used for capturing actual objects up to 6" in height. In fact, we have reported very impressive results scanning wood samples, fabric, leather, circuit boards, jewelry, glass art and on occasion a live body in the past.

Colours may look different on-screen due to differences in monitor makes and calibrations. The best way to be sure that the colour in your files is correct and/or true to your original is to print a proof. Proofs should be printed on the desired final print media, and ideally with the print shop that will be producing the prints.

Colourgenics/Uberscan respects Copyright. All new clients must complete our copyright/liability forms prior to work orders being accepted and activated.