Gloss Optimizer permanence?

How does the GO, used with PiezoPro, affect the archival permanence of the prints? Does it yellow? Does it add an anti-UV improvement? Any issues? Has Wilhelm or Aardenberg done any tests with it?



The GCO is essentially an acrylate polymer. It is very similar to the base material in all inkjet inks (although slightly different because it’s built to be its own thing and not be mixed w/ pigments before it prints on a page). It dries into an acrylate shell. These are well tested archival materials. It protects the surface of the paper by either bonding to the polymers in the paper (filling them) so they are less reactive to the atmosphere or (on gloss papers) covering them so the same applies.

This GCO has not been tested by Aardenburg imaging, but our GO (older version) has been tested and some of the top ranked prints on his site have had our GO applied. It’s very similar to Hahnemühle Archival Spray.



Thanks for the reply.

One more question, does the GO add an anti UV aspect or do I still need to spray the print with HahnemĂĽhle Archival Spray?

It is a UV protectant. No need to spray.


Thanks. Just needed to be sure. When I state to a collector the archival permanence of a print I am basically making a contractual obligation.

This should not be a contractual obligation (in my opinion) as we are entirely unsure of the the collector’s ability to store the print properly. Unless the contract has clearly stated clauses.

  1. The print should not be stored next to silver prints that could outgas.
  2. The print should not be stored in improperly made plastic sleeves (that may not be made with virgin plastic)
  3. The print should not be mounted or adhered (using even certified mount adhesive).
  4. The print should not be around NOX, sulfur, or other air carbon pollution/emission sources (specifically related to #2 because these two things react and cause yellowing even in papers with trace OBAs)

The elephant in the room is the paper (not the ink). Even dye ink is outlasting these ISO certified archival papers due to improper storage, pollution, and climate change + proprietary polymers in the papers surface that are not disclosed by the manufacturers.

So, in short, if you are thinking that this is just about the ink, and that you can rest assured that the big companies (Canson, Hahnemühle, etc) have your back when it comes to the paper, that is not the case. It’s the reverse at this point. Fade due to light exposure is only one small sliver of the equation.

The only ink paper combo that is truly contract-worthy without caveat clauses (IMO) is 100% carbon ink on uncoated paper using our UltraHD-MK ink to get the density (dMax) to around 1.63-ish. There are no OBAs or polymers in the paper to go funky and these uncoated papers have been around (and collected and still shown) since the 1500s.


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One note. The Reich CT Vellum works with Piezography ink and is 100% uncoated, archival*, made in a non-chlorinated plant, acid free, resistant to atmosphere due to its parchmentization, and can get to a dMax of 1.72 with our Ultra-HD MK ink.


*as archival as vellums can get. Many vellum prints have made it hundreds of years.

I am aware of this, and in reality “archival” is subjective, but from a legal perspective a print yellowing or fading in 5 to 10 years is going to present a problem with an artist’s reputation versus a print that shows signs of yellowing or fading, etc. in 50 years. And obviously someone hanging a print in direct sun means that all bets are off. I also know that it is the paper that is the weak link and that paper with OBAs will darken over time, or even appear darker when a collector glazes with anti UV glass.

I’m talking about yellowing of the paper in 2 weeks. if improperly mounted/framed/stored or not sealed from the environment. That is what can happen. It happened to me printing the Nasa moonrise shot for the Smithsonian. It’s not fun. I tracked it down to the package idling in the FedEx lot over the weekend with diesel trucks (+ an improper early batch of paper. This was in 2006 fyi). I no longer ship any FedEx ground packs on Thursday/Friday anymore. In fact ship out ends Wednesday ideally.


I’ve never had that happen to me but like you I never ship a print over a weekend. My concern was not so much idling trucks but the assumption that the less time a courier has a print the less opportunity for damage.

What’s the safe period with Cone inks to allow for outgassing before shipping a print? I usually wait 72 hours before shipping an Epson ink print.

Outgassing isn’t an issue after 24/48hrs. You are safe at 72hrs.


Walker I had another thought about the GO.

Color prints on matte paper, Canson Rag Photo, are very susceptible to scuffs so for color prints I produce using my Epson P9000, which uses Epson ink, I currently spray them with the HahnemĂĽhle protective spray which is a less than convenient, and I fear less than a healthy process for me. (The fumes even when sprayed in my large garage are just awful and I wear an industrial respirator).

Now when I spray the matte prints with the Hahnemühle spray the matte prints stay matte, when I spray Baryta prints the original surface does not change. I’m not looking to add a gloss to matte prints with the GO.

Is it possible, and advisable, for me to take a color print made with Epson Ink on my P9000 and then run that print after it’s out gassed through my 9900 and just print GO on it? Would that provide the protection that I get from the Hahnemühle spray? Any downsides to that?

I assume I’d have to take a profile that normally includes the GO spray and turn off all the other colors including photo black, or does GO only work when photo black is active?

I don’t advise every running matte prints through a printer again. this scratches them,


On both my 9900 and P9000 I have removed the pizza wheels as a matter of standard practice and I assumed if I were to run an existing print through the 9900 I’d set the head clearance as though there’s a really thick paper stock being used.

Assuming I can defeat the scratching issue is the GO a suitable replacement for the HahnemĂĽhle spray? And would one pass do it?


Assuming you can fix the scratching issue, yes it is a good replacement. And no VOC!


Thanks Walker. I assume I can just modify a profile so that all it does is print GO.

The GO-30000 profile is what you want. It’s in the curve folder (s).


Thanks Walker. I’ve run a couple of test prints through. No scratches. How can I tell if it’s been GO printed? There’s no obvious edge like on a baryta print. Is just the fact that the printer seemed to be printing proof enough? Also does GO provide any water resistance once it’s cured? I’m excited that this may just work. You have no idea how much I dread spraying the Hahn spray.

Hi Walker,

Back on the topic of using GO on matte prints to act as a sealer, how can I add that to my matte paper curves so I do not have to run a print through a second time using just GO? Also is it advisable to even run GO at the same time as inks on matte paper?


you can run concurrently. Copy the LLK channel data from any of the Pro curves and put this in replace of the 256 rows of zeros after # LLK Curve in any .quad file you are wanting to do concurrent GO printing with.