There were a lot of digital trials that simply didn't work. However, I will detail them briefly in order to demonstrate the reasons for mant of my decisions.
The many faces of amethyst purple just seemed a but lack lustre and pointless, also a lot of different screens, not really worth the intensive process.
Introducing the angular branches, heading towards the aubergine idea looked even worse, it also over crowded the page and didn't give the paper any chance to show off.
Breaking this down into the lines of the structure definitely helped and the effectiveness of this seen at the sketching stage came through. Starting with a lighter purple allowed contract but also drew attention to the intensity of the amethyst purple. ( it should be noted that the colour for the stock was taken directly from the GF Smith website).
Creating a number of playful patterns took some time. starting with an enlarged comic book like halftone dot simulation and moving to more geometric forms.
I found that sharp edges created the best sense of crystalline faces and also fitted with e the precision that forms the back bone of the GF Smith brand.
I tried some patterns that were slightly more free form, inspired by marbled patterns. However it was just distractingly inconstant next to the other patterns. So, the patterns would have to be all digital or all hand made and as previously mentioned the vector patters had a better sense of precision.
Playing with a pastel green rather than the purple. This was inspired by the colour combinations for the Beauty in the making exhibition. Using a fully contrasting colour but then making it pastel works really well in terms of showcasing the colour of the stock and also fits with the playful pastels of the colours may vary merchandise.
Although the clarity of the one colour works I felt like it needed something extra and it came in thinking further about the reflective properties of amethyst. I added highlights on the areas of the faces that would reflect light as the highest points of each face, as relates to the original pattern on faces. This could either be produced in a soft grey with flecks of silver or even a UV spot shine.
I experimented with adding highlight gradients to the other faces but this made the design far too busy and was unnecessary for the message and purpose of the print.
These are the screen print positives ready to go. I will experiment during printing to find exactly the finish I want with this design.