The warp colors were somewhat based on van Gogh's sunflower paintings, but within what I already had. Threading was completely random 1-p-2-p. In parts I used two pattern wefts in different sheds, but I kept no record. (Ergo the next somewhat-sunflower-esque warp.) Tie down is 1-2-2-1, so with one pattern weft, diamond shape appears, but where I used two pattern wefts, they look more like honeycombs. (There are many lifting mistakes, skips, and "brushed" warp due to bad tension; please ignore them. Also, these photos were taken on three occasions, so they are all over, but I hope you get the... ahem... picture.)
I started with subtler combinations, as in the sample above, and mixed hues happily, but by June it became harder to see, so the colors became brighter, more saturated, weft pair combinations "sympathetic," (my expression; meaning, close in hue,) and color progression in almost cyclical gradation.
As you know, typical Summer & Winter shows shapes: one side with shapes in pattern weft color/s and "background" in warp color/s, while the reverse with shapes in warp color/s and the "background" in pattern weft color/s. I originally became interested in Summer & Winter to make the most of the number of shafts, and I thread the pattern shafts randomly, so I don't have clearly defined shapes. Still, the contrast in top and reverse sides is striking. Or, in a way, as you'd expect.
As I neared the finish line, I became curious about the relationship between lifting and how two pattern shafts appear, so that's what I'm working on now, with records! Posts will follow.