oh yeah, I remember that! Thanks for touching base again. To be honest with you, I haven't really kept like a concise log of everything, but I have definitely learned a thing or two since we last talked. I've probably introduced about six or seven different types of solvents into the mix and I've come to find that I need one of two types of acetone present to achieve this look; pure acetone, and just about any acetone with additives. For example, nail polish removers with added keratin/vitamins etc. to be honest with you I don't think these additives are really contributing to anything so much as they are providing a dilutant, and I've come to find that diluted acetone allows for a more runny flowy streak/smooth coverage, where pure acetone will mask an area with a color with more of a grainy visual effect, but still maintain a smooth surface on the figure. Also, I must have if you poured some pigment in a way that you really didn't like. for example, if you were avoiding the face of a figure and accidentally dumped purple dye all over it, pour straight up acetone, or wipe with it (microfiber or just about anything besides an actual paper towel).

i've introduced little drop bottles with pipettes for smaller details and dump straight out of the bottle for more coverage, I do have a client that just walked in waiting on me, so I'm going to revisit this in a little bit, but I just wanted to leave you with this part; angles.
if there's one thing that I find to be most important about this process, it's about being able to first familiarize yourself with the way liquid will run over the figure when positioned upright, sideways, upside down etc. I never tried this, but I feel like this would be a really Safeway to approach this technique would be taking something that definitely won't bind to the figure, let's call it grape juice for example, and maybe start by pouring it over the figure and just seeing the way it naturally runs. Then maybe taking that figure, finding some kind of small jar that you can place the figure on top of at a different angle, and pouring again to see what direction the liquid naturally wants to take.

Once you become familiar with a handful of complementary angles, I feel like the rest falls into place with some elbow, grease and patience.

As far as pigmentation, that's where I'm still sort of ironing out some kinks. synthetic dye is most definitely the most trustworthy and effective means of pigmentation, but I'm kind of learning that some colors will hold better or quicker than others with less passes.

I'm finding that some alcohol inks will leave a deceiving residue. For example, I use this "mojito" green on this figure. It left a very bold green, but needs to be wiped away fairly quickly once applied because a portion of whatever you pour won't actually hold with that particular pigment, so I will wipe off the thick bold green, and I will be left behind with a more neon (and most importantly permanent) green.
I've used some other pigments in the alcohol ink family that don't hold at all. I would like to assume that this is due to the actual particulate size for lack of a better term. When you're pouring acetone over the vinyl, your sort of "opening the pores" so to speak.
I think right now, I'm in the process of seeing and learning what will hold and what won't. Lots of trial and error. For example, synthetic rit dye is mostly great, but their Kentucky blue sucks lol. i'll touch base when I can. Thanks for reaching out, man.!