Pacing: sometimes life interferes

Today is cleaning lady day so I got a late start.  I also had to run a couple of urgent errands.  And I woke with back pain so all together that seemed to be a message for me to have an easy day in the studio.  I decided to be inspired by the tone on tone dragonfly reference shot and try out some of the different fabric paints I have to see how they work in this style.  My secondary goal here is to cut back on the number of different paints I use.  Here's today's paints and the little palette plate.

SoSoft takes the lead!

I love the lumiere russet on the far right of the row of paints.  It's the perfect thickness straight out of the jar for silkscreening.  (About the consistency of gel toothpaste for those who are curious.)  The SoSoft paints surprised me.  I was expecting lesser quality as fabric paints at, say, JoAnn's or Michael's tend to have less pigment and be paler than I'd like for this exercise.  Nice surprise.  

Here's the finished dragonfly with gold & russet on the body and the various blues on the wings.  I did the left wings first and decided I didn't like the color layout so the right wings are what I did to fix that.

Glitter is there in person but not on camera

My evaluation of today's dragonfly:  I liked the transparency of the SoSoft non-metallic blue (wingtip on the right wings).  The metallics were more opaque as expected.  The SoSoft metallic turquoise worked well, much better than the Lumiere darker blue in the middle of the wing.  Overall, I like the coloring in of the silkscreen.

Thoughts that came to me while working:  I wonder if I could use the marbling paints with the pearlescent base to create metallics that work for this?  And would the marbling paints I prefer work with acrylic medium to make a good silkscreening consistency?  That would really simplify my paint situation.  Right now, I have silkscreening paints from Speedball & Versatex, marbling paints that are mostly Golden Hi-Flow, transparent & opaque & metallic sets of Setacolor, and a bunch of lumiere and neopaque fabric paints. And a box of fluid Golden acrylics, red, blue & yellow in both warm and cool.   ( I also have a whole set of dyes which are transparent.)  Too many choices to make when deciding what paint to use.  Not to mention all the studio space to store all of them.   The dyes and the marbling paints stay, absolutely.  Beyond that, I'm looking for flexibility and color intensity.  Hmm, how to test these paints against each other with minimum effort and maximum info resulting?  I'll think on this tonight and plan in the morning.