If we forget about analog separation negatives the process really isn't all that challenging; not much different than carbon, especially in the making of the materials.
My desire is not necessarily to reproduce the fidelity, color, saturation & rendering of a professional made dye-transfer print (yet). I figure if people are getting enjoyment & making attractive prints from tri-color gum, which is far from technically perfect reproduction, then spitting images of reality from this imbibition scheme need not be the goal.
As time passes and ideally more people jump on the bandwagon, each step will become more refined and the collective wisdom will grow, with new ideas & contributions springing forth. I think that carbon & dye-imbibition are poised to potentially be the only "analog" options for printing color photos in the future, and I would love to see a renaissance. The beautiful thing is that it can appeal to digital shooters just as equally.. and no darkroom needed!
Check out this print... http://gary.saretzky.com/photohistor...sky/index.html The scan is low quality, but this is an imbibition print made by F.E. Ives at the request of Elias Goldensky, using his tripack film and a Hi-Cro camera in 1916 (information courtesy of Gary Saretzky). I see a lot of potential from this print.