If you go onto You Tube looking for Giclée Archival Inks, you will see Pigment inks from an Epson Printer or maybe a Canon printer. Even though people who print fine art with Epson Inks, looking at the hue value of Epson inks you will see that they greatly fit for pre-
When Orange and Green were introduce over 12 years ago, it soon was dropped because the results of Orange did not produce a dynamic Red and Greens were made very well with Yellow and Cyan. This may actually be the reason that so many 7900 and 9900 printers get clogged Green channel in those printers. One of my clients said, he did not have to change the Green cartridge in a year and his nozzles were 30% clogged even with numerous cleanings. This only means that the images he made printed with Yellow and Cyan more than Green. We receive numerous clogging issues with the Green channel.
I feel Giclée and Fine Art Paintings have a common relationship image structure, which media, the quality of pigments, and the software integration are paramount to Giclée. Both Artists and Print makers want to be able to make the images to be rich and vibrant, while having superior light fastness. An artist chooses from numerous pigments, some of which offer greater brightness and some offer greater depth. Artists would never think of using CMYK as their pallet. People who produce Giclée Prints, in general accept what the printer has to offer and work with it as though the only place to get inks is from the Printer Manufacturer. In the 15 years I have been in business printing and making custom inks, I have never come across a client telling me about his extended pallet of inks. There doesn’t seem to be a thirst for discussions on improving the quality, at least I do not see it. Think for a moment. If an artist could obtain his or her desire of color from CMYK, would you not think they would use it?
Only by asking a print maker would you like to have richer more vibrant color especially in the Reds, do I get a response, yes.