The final phase of this test, a dark brown layer (not very visible in the top one of the three images below), played out true to the preceding ones. Meaning there were no problems with the ink, not at the beginning and not now, at the end. The three finished prints look like this (the print size is 5" x 7"):
Daniel Smith (water soluble):
Daniel Smith (oil relief ink):
Georgian Oil Paint and Printmaking Medium:
Even now, with all three done, I can't honestly say which I like better: the more translucent version or the stronger, opaque one. There's something to be said for both and my re-discovery of oil paints as a printing medium is definitely one of the pluses that emerged from this exercise.
That said, what about the ink issues that led me to this test to begin with? Well, I'm guessing it's pretty safe to say that, since I encountered none of those same issues throughout the testing, the ink is not the problem. And, if it's not the ink, then the only other variable is the paper. Both of the two prints I was unhappy with were printed on machine-made Japanase Masa paper. I'd only used it for one-colour prints and watercolour work before, but specifically chose it for the folksy florals because I thought the fibers would be well-suited to them and would give the impression of linen.
But I didn't have any Masa left so I didn't use it for my ink test and, instead, chose some remnants of BFK Rives, my absolute favourite paper to work with. Given my results with these test prints, it's pretty obvious the Masa is not as well suited to multi-colour reductions as the Rives is. Or maybe it's just not as well suited to reductions done with the heavier DS inks. Maybe, if I'd used the lighter-weight oil paint/printmaking medium mix on the Masa it might have behaved differently. Hmmm, something to test in the future I suppose. For now, I took advantage of a sale Daniel Smith was having and ordered some more Rives. It should get here just in time for me to start on my sand dollar print next week.