Variety of textures can be produced with combination of self-displace action and pattern maker. Colorization can be accomplished with crossfadinf of original texture and gradient map colored one.

When coloring design, repetition with variation principle can be applied. Variation with coloring can use HSB transitions. The effect of areal perspective can also be used.

Radiating
Booleans - Cresscents
Notching, Offsets
Too big for borders
Booleans with rectangles
Coloring - gradients with simultaneous contrasts of edges

Many rules are shared with horizontal and vertical SD rules, uneven distribtiom should run freely and can be periodicly violated by simmetry

Extending division to the very edge
Duplicating natural phenomena rules - mesa, tree, lake
Going, changing direction and resuming principle similar to electric circuits, rectangularization of water paths.
Replicating perspective effects - the further the smaller sizes and distances
replication of ray and radiation effects. Fractured glass, web, sunset.
backgrounds age generally darker to reinforce overlaping logic
important is contrast of distribution, where edges and limited areas undergo intensive assumetric subdivision
interaction patters of notching, offseting, bordering and fitting
interaction pattern of compound paths and semitransperency with overlay coloring

White and Black enchance other colors
Gray is a color on its own it contrasts with saturated colors, especially red
Gradients often provide echancements to colors. On top of that textures provide additional echancements.
frequently you see standard color scheme or color pair (like brown and green) greatly enchanced by gradients that push colors to extremes ro whites, blacks, reds and additional textures unite composition even more.
Browns play major role in abstracts as do generel monochromatic schemes.

In RGB mode go to calculations, use two channels blue and red. They can work in Lighten or Add mode in a similar fashion. When used by themselves they will flood with wite everything but black. When red is inverted - red items will show, when blue is inverted - blue items will show. Can be easily written into action.

Different color shemes spotted in images can be used as palletes in AI. Bring the image in PSP and select areas of interest to limit to color sheme areas. High contrast areas can be included also. Invert selection and fill it with solid color. LiveTrace in AI to swatches. It may help to create additional variation of swatches with higher contrast values. Gradients in overlay mode will as a rule inhance color combinations. Gradient combinations can be used as templates to try on top of each color combination

Swatch manipulation can be done in SHB to produce practically any variation of original swatch
Explore 3 types of contrasts - HSB
Where B can be white/black/light color/dark color contrast
Where H can be any of traditional color shemes or color working pairs
Where S can be used primerely with monocromatic color scheme

Color schemes: complimentary, analagous, split colmplimentary, tetriary
Color pairs: red-yellow, green-brown, yellow-purple, black-red

There are four main areas to image
Line, Shape, Value, Texture
To render these elements properly they need to be made independent

Contour maping and tone maping can be done with ballpen since their nature in eseence is closed shape. They do not necesserely need to be distinguished from each other since tone maping does not violate contour maping. Lines have to be distinguished as open elements, only then they would not contradict shapes when rendered with the same tool. All other marks can be rendered as texture and need to done in different color, if texture marks are fine they can be the same color as as wide and light marks. For example: contour shapes, value mapping shapes and line marks can be done in black ball pen while value-related texture and general sketching can be done in blue pencil. Blue pen can be used to create thin texture marks.