And here's how it looked after the backing paper came off. I put a piece of white paper behind it offset from the edge a bit. My scanners lid is black so it looks very different depending on the backing.
And the last piece with the setacolor paints was a piece of inkjet ready silk. Since it was a leftover bit, I'm not really sure what weight it was. It came out the best of the setacolor ones, both in color and patterning. Experience counts, I guess.
Next, I moved on to try the neopaque paints. I have fewer colors in these but they are opaque and heavier. I found they just sank right away in their out of the jar thickness. So, I added some water, and tried some different methods of applying them and got some good colors. This was a piece of the habatoi used above and the colors were nice and vivid and I'm starting to get the hang of the patterning.
I was still having problems with the paint sinking. The troubleshooting guides we found said that either the size was too thin or the paint was too thick. I didn't really think I could thin the paint much thinner than I had it so I did one piece of cotton, a white on white print, to clean off the remaining paint from the size, and here's how that turned out. The little hints of reddish color are actually a metallic rust paint but it was particularly bad about sinking fast so not much of it showed up. This piece is mostly to show that cotton does take the paints well. One of the books I've been reading about marbling said that silk was the best fabric to use but I'm not sure I'd agree with that.