About Our Inks
A Bottle Of Vermont PhotoInkjet Ink Guarantees You Both Innovation And Quality
We are the most unique ink company in the world. Founded in 1994 by Jon and Cathy Cone, the OEMs have called us a "boutique" ink company because we are small and make specialized products. Yet, we formulate more inks than any other 3rd party ink company in the world (more than 100 separate inks for Epson printers). What makes our ink superior is that we have a deeper understaning in how it is used and why it is used. Our sister company Cone Editions Press is the world's first digital printmaking studio. We've a long history.
We are also willing to invest in tomorrow's technologies. Our motivation is not to make ink in a "compatibles" market. We were first to offer pigment in Epson printers prior to Epson offering pigment in their own printers. We were first to manufacture carbon monochrome inks (in addition to being the inventors of quadblack). We were the first to offer nano-grinding of pigments to precisely control their shape and polish. We are the only 3rd party ink company in the world to join both HP and Epson in developing an encapsulated pigment particle.
All of our pigment inks are encapsulated to isolate the static charge. Expensive chemistry is required to both control the static charge as well as the dispersion of each of our special pigments. As a result, our pigment particles can not attract one another to form clumps. The benefits to the user is non-clogging performance and high-standard printability. Just like Epson's encapsulated pigment inks ConeColor Pro, Piezography, and InkThrfitDB inks must be shaken prior to use.
In the USA, all Cone branded inks are sold exclusively through InkjetMall. We do manufacture private label inks for several other ink companies in the USA. These are formulas which we do not sell ourselves. Please contact us if you would require ink development or are interested in becoming a dealer or distributor.
Ink Making For Us Is More Than An Art. It Is The Staple Ingredient That We Rely On As Printmakers
We've been digital printmakers longer than anyone else on this planet. Jon and Cathy Cone founded Cone Editions Press (the world's first digital printmakers) in 1980. It has produced some of the most imporant exhibitions of our time, and continues to work with photographers and fine artists all over the world.
Here is a sampling of some of our projects over the years:
James Nachtwey:This is one of the most intense collaborations that Jon Cone has been involved with. Begun just in November of 2013 and expected to last some time as the archives are developed. The paper of choice is JonCone Studio Type 5, the inks Piezography Selenium for the b&w work and ConeColor on Epson Exhibition Fiber for the color work. The printmaker and photographer are often working side by side for 12-15 hours per day.
Zana Briski:We have been working with Zana for several years producing IRIS prints as late as 2011 and now concentrating on Piezography printing and our extreme printmaking on on thick hand made papers up to 60".
Andrea Zini:Dana Ceccarelli holding an impossibly thick hand made sheet printed with a special combination of Piezography and JonCone Studio inks for photographer Andea Zini. The papers were made to size for the photographer to match the format of his digital Hasselblad. Two exhibitions printed in 2012 and 2013. (yes that is the same Dana Ceccarelli of InkjetMall who provides our customers such amazing technical support.)
Jon Cone:Oregon Coast, 2011 Piezography Carbon K7 inks on JonCone Studio Type 5 paper.
Printing Piezography inks on 47" x 107" handmade, Triple-Thick Mitsumata for Jonathan Singer...a very slow but luxurious process! The paper is pre-heated during printing to 50c to allow much more ink on this unsized and uncoated paper.
Jonathan Singer:Botanica Magnifica, 2009. An IRIS Print project of epic proportions. Five extra-large “double-elephant” format, lavishly hand-bound volumes printed for and permanently housed in the Cullman Rare Book Room at the Smithsonian.
Annu Palakunnathu Matthew:Noble/Savage, from An Indian from India, 2007. Digital print on acetate mounted on gold media to imitate Curtis Orotone process. Housed in hand tooled leather cases.
Gregory Colbert:The Ashes and Snow Nomadic Museum exhibitions printed by Jon Cone using a combination of JonCone Studio and Piezography inks on handmade papers up to 94" x 186" from 2005 - 2008. These prints were viewed by more than 13 million people making it the most viewed exhibition in history.
Sharon Harper:Moon Studies and star Scratches, Rincon, P.R., 2006. Piezography Carbon inks printed at Cone Editions Press.
Developing unique process in a private studio at Cone Editions Press in 2005. A 64" Roland printer that has been outfitted with 12 different inks. Ink formulation in the lab - immediate proofing - resulting in rapid autographic printmaking development for photographer Gregory Colbert.
Inkjet prototyping lab at Cone Editions Press in 2001.
Ivan Chermayeff working in the artist/intaglio studio at Cone Editions Press in 1999.
Jean-Pierre Hebert, plotted IRIS print from hand-made software of the artist. 1998 while in residence at Cone Editions Press.
Diana Michener: Introduced to Cone through Jim Dine (an Ohio University alumnus where Cone attended), Diana Michener worked in residence at Cone Editions in 1996-1997 to produce the extremely delicate and powerful Solitaire suite of IRIS prints produced using the first of Cone's quadblack inkjet inventions, Digital Platinum for IRIS. Printed on impossibly thin Japanese papers and exhibited at Pace-Magill Gallery that year.
Four IRIS 3047 printers at Cone Editions Press in 1997.
Yasumasa Morimura:Self-Portrait - Sharaku (Self after Yadorigi), 1996. One of four woodcut, photogravure, and IRIS print on Japanese paper. Published by and in collaboration with Yoshi Sigoshi of Editions Works, Tokyo.
Jon Cone’s first quad-black inkjet system was developed for the IRIS 3047 printer in 1995. DigitalPlatinum when used in collaboration with Carl Weese was able to produce prints which mimicked the Ziatype printing-out-process. The split-tone evident in this print moves from silvery cool highlights into chocolate brown shadows. DigitalPlatinum predates Cone’s well known Piezography products by 5 years, yet printed without visible dots.
David Humphrey and Jon Cone at Cone-Laumont Editions posing in front of one of two IRIS 3047 printers, about 1995.
Gordon Parks: Leaf Moon, 1995 from the Half Past Autumn retrospective exhibition in 1997 at the Corcoran Gallery, Washington D.C. Printed with ConeTech WGFA inks at Cone Editions Press in 1994. Cone and Parks collaborated for more than a year on this special project. Cone was working with Alias Eclipse on an SGI workstation.
Richard Avedon: from the In Memory of Mr & Mrs Comfort portfolio produced with ConeTech WGFA inks as an IRIS print series. Editon 18. Printed at Cone Editions Press, 1997-1998. Cone and Avedon collaborated for two years on this special project.
Janet Fish: Tropical Still Life, 1992. 30 color silkscreen from hand drawn and painted screen stencils by the artist.
Janet Fish and Jon Cone proofing a 20 color silkscreen print in the new Cone Editions Studio, Topsham, Vermont. 1991.
Emily Cheng: Madonna, 1991. Canon digital pigment, acetone-solvent transfer with silkscreen from hand cut paper stencils.
David Humphrey: Family, 1991. A monoprint pulled from a computer generated oil paint printing matrix that had been silkscreened onto plexiglass, disturbed by the artist with solvents and pigments prior to transferring the oil paint to paper through an etching press.
Stanley Boxer: Teaseuponagrassland, 1989, Color monoprint from wood block. From a series of large scale birch woodblocks carved by the artist and proofed at Cone Editions in 1988 - but printed at Smith Andersen Editions during the time Cone Editions moved from Port Chester, NY to East Topsham, VT.
Willy Heeks: Affirming Flame,1988. Color etching, drypoint and screenprint.
Joel Fisher: Mountain Scan, 1988. Digital aquatint etching, derived from fifteen 4"x4" copper plates.
Archie Rand: Assimilation, 1988. Edition of 5. Potato print, 50" x 75".
David Humphrey, Lies. 1987. Photogravure from hand painted mylar with spit-bite etching and silkscreen.
Archie Rand next to Jon Cone while inkingAssimilation, 1987. One of more than 100 unique large scale Potato Prints produced in collaboration during four 96 hour printmaking sessions.
Norman Bluhm and John Yau collaborating with Jon Cone during the making of the Poem Prints,1987.
Carole Seborovski: Three Black Bars, 1986. An aquatint photogravure made from from hand drawn tissues by the artist.
David Kapp: Oncoming Car, 1985. A silkscreen print produced using a painting "tusche" created by Jon Cone for the artist to work directly on the silkscreen fabric.
Wolf Kahn: Kentucky Barn, 1985. A series of more than 30 unique variations on a theme printed in silkscreen in up to 15 colors. All screens were drawn on directly by the artist using silkscreen "pastels" developed and manufactured by Jon Cone.
Lester Johnson: Gold Series 3, 1984. Hand drawn silkscreen in three colors using crayons and screen-resist developed by Jon Cone. Printed at Cone Editions for the Atelier Project of SUNY at Purchase.
Jon Cone in 1981 at the silkscreen table in the Port Chester, NY studio.
For printing at Cone Editions Press, please contact Cathy Cone at (802) 439-5751