I can not comment on how the OCP + Eboni would behave in the printer and on the Arches Hot Press. This morning I mixed some Eboni that I still have with the OCP Kodak Gloss Optimizer that I have in a 1:5 ratio and applied it with a new, washed, brush on Velin Arches Blanc. Will measure this later to see what the Lab values of the paper and the patches are. I must have a Canson Arches sample book with the Hot Press somewhere so will try that one too. I taped the ink mix in a small container to the wall to see whether pigment settling happens, Paul's centrifuge method is more sophisticated but I can not reproduce that or give a meaning to first results without extensive trials.
Met vriendelijke groet, Ernst
Dinkla Grafische Techniek
Quad, piëzografie, giclée
www.pigment-print.com
My suggestion to use OCP is because these questions about US ink imports to Europe are more often raised and I think we should do something about that here in Europe. OCP is a reliable source for some ingredients. The few distributors of Image Specialists inks or better MIS either are expensive or disappear as fast as they appear.
Met vriendelijke groet, Ernst
Dinkla Grafische Techniek
Quad, piëzografie, giclée
www.pigment-print.com
On Wed, Dec 24, 2014 at 10:59 AM, analogphoto68@yahoo.com [DigitalBlackandWhiteThePrint] <DigitalBlackandWhiteThePrint@yahoogroups.com> wrote:
Hello Ernst,
thank you for your reply.
Well, to make a long story short: I'm just a beginner and have only experimented with Paul Roark's Carbon-6 open source approach and the C6a base fluid. That worked very well on my Epson R220 with coated papers.
Now the next step: I intend to buy an R3000 and would like to print on Arches Water Color paper, again Paul Roark's recommendation. So I'd have to chenge to the C6c base fluid.
Is the OCP-Optimizer suited for my intention? Do you have any experiences with that?
Excuse for a newbies questions,
Gerd