The biggest problem with inks is how the pigment is ground , cheap inks will have larger and more coarsely ground particles and will clog heads , pumps , dampers etc and will settle out of suspension quicker and give rise to other problems. In all probability you will never achieve perfect colour.
At any rate , the real problem will be pigment fading in respect of what we do , especially under UV exposure
To achieve perfect colour workflow is hugely expensive ...way more than any printers cost. Best most printers can do is kinda get close
If you are printing for ad agencies who are pernickety about the Nth degree of pantone match , you need to have a real complex setup.
I use expensive OEM bulk inks in my large format printers - design is done on a CRT that is in a room with a specific colour and intensity of lighting , we use spiders to calibrate the screen , use a Wasatch RIP and have profiles for EVERY type and brand of media used and have to do test prints every few days to check heads , even have to compensate for temp and humidity...it's a misson.!!!
My best small printers are my Canon Photoprinters and they use a HUGE amt of inks , 8 small carts and most of the inks are used in their self cleaning cycles they go thru every now and then , they do deliver archival quality prints but at a huge cost.
Rodney Gold, Toker Bros trophies, Cape Town , South Africa :
Roland 2300 rotary . 3 x ISEL's ..1m x 500mm CnC .
Tekcel 1200x2400 router , 900 x 600 60w Shenui laser , 1200 x 800 80w Reci tube Shenhui Laser
6 x longtai lasers 400x600 60w , 1 x longtai 20w fiber
2x Gravo manual engravers , Roland 540 large format printer/cutter. CLTT setup
1600mm hot and cold laminator , 3x Dopag resin dispensers , sandblasting setup, acid etcher
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