Why We Chose the Canon imagePROGRAF PRO‑1000 for In‑Studio Printing

A Quick Back‑Story

For years, every colour proof came back from our partner labs in a padded envelope, followed by a volley of tweaks and another envelope. A single test of a colour change could take weeks of back and forth. In 2024 I decided the studio needed its own fine‑art printer so we could approve colours the same day they’re adjusted.

Below is how I narrowed the field and why the Canon imagePROGRAF PRO‑1000 now lives in our studio!

What I Needed

1. Pigment‑based inks for true archival quality.

2. Sheet size up to 17 × 22 in — large enough for gallery proofs yet still desk‑friendly.

3. Accurate colour reproduction for consistent tones across every print.

4. Easy nozzle maintenance (no half‑day cleaning rituals).

5. Reasonable cost per print so test runs don’t feel like a luxury.

Printers That Made the Shortlist

After two weeks of spec sheets and endless review videos, the PRO‑1000 won out.

Why the Canon PRO‑1000 Won

12‑Color LUCIA PRO Pigment Ink

The expanded gamut keeps oranges in Fukuoka Cat and indigos in The Fox vivid. A Chroma Optimizer pass leaves blacks velvety rather than charcoal‑grey.

Built‑In Nozzle Compensation

The printer checks each nozzle row and reroutes ink if it finds a clog—no wasting an afternoon and half a cartridge on cleaning cycles. For a studio that prints in bursts rather than daily, that mattered.

Handles Heavy Cotton, One Sheet at a Time

Fine‑art papers in the 300 gsm range need careful feeding. The rear tray on the PRO‑1000 lets me load a single sheet of museum‑grade cotton paper without corner dings or roller marks, so proofs look sale‑ready straight out of the printer.

Sensible Running Costs

Cartridges aren’t cheap (about $80 CAD each), but a full‑colour 17 × 22 in proof lands around $4.60—still far cheaper than outsourcing every tweak.

How It Fits Our Workflow

• Proofing new designs — I run a colour check before sending the final file to partner labs.

• One‑off rush prints — When a customer needs a last‑minute gift or a retailer requests a sample, we can produce a single print in‑house the same day.

• Archival reference — We keep at least one copy of every print for colour comparison and long‑term archiving.

Most of the prints you order from our shop are still produced and dispatched by our partner labs—they have the large‑format presses, professional packing lines, and shipping infrastructure that our small studio can’t match. The PRO‑1000 covers proofs and emergency one‑offs; the labs handle the bulk of day‑to‑day fulfilment.

Any Downsides?

• Speed — A 17 × 22 in print can take nearly seven minutes. Want proof? Here’s a short long clip: https://www.instagram.com/p/DKXhPfCsOAm/

• Weight — At roughly 70 lb (32 kg) it took two people, a trolley, and plenty of patience to move the box from the car and haul it up two flights of stairs to the print room.

• Maintenance ink use — Automatic head‑cleaning cycles consume a noticeable amount of ink, so factor that into running costs.

Outside of those quirks, the output quality has been flawless.

A Note on the New PRO‑1100

Canon released the imagePROGRAF PRO‑1100 in early 2025. It adds an optional roll‑feed adapter and a modest speed bump while using the same 12‑ink LUCIA PRO set. We stayed with the PRO‑1000 because a strong studio discount made it the more practical choice—and the newer features didn’t justify the extra cost for our current workflow.

Final Word

The Canon PRO‑1000 strikes a sweet spot: large enough for exhibition‑grade proofs, compact enough for a city studio, and smart enough to babysit its own nozzles. It keeps our colour decisions in‑house, shrinks turnaround time, and saves a surprising amount on courier fees.

If you’re an illustrator or photographer looking for a serious but not back‑breaking fine‑art printer, this one’s worth the desk space.

— Catherine