I can get industrial colorants superior to anything in the art store in terms of consistency, volume pricing, and even permanence - all already
dispered (and yeah, doing that right is a whole other trick) - BUT I'm still fiddling with an ideal process set. Getting close, but there is always
the possibility of some sort of incompatibility in the workflow. I'm not a pigment printer myself, so have to extrapolate some of the potential results until someone can do some hard testing. The real holy grail of transparent process colors is still a long ways off, but I do know of
serious R&D interest in it. I personally inherited some of the finest watercolor pigments ever, which are also the purest and most lightfast I've
ever seen, but nobody will ever be able to replicate these in even the modest volumes necessary to pigment printing. For example, you can
buy exceptional grades of lapis blue if you know where to go, but it costs more per ounce than gold. I have enough trouble keeping my
ceiling patched, and hardly have the income to decorate the ceiling of the Sistine!
Richard Kauffman passed away in 1998. As you wrote, he was among the last living links to the heyday of the carbro print. Attached is a photo of Richard (on the left) along with Harry Baskerville, who was the director of the Carbro program at McGraw Colorgraph. The knowledge and experience these two men had of color carbro cannot be equalled today. I was supremely fortunate to have them as my guides to the process.
Originally Posted by DREW WILEY