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the subtle nuances of the photo required much more patches

I really love posts #291 &# 298. The images come through very nicely. On some of the others I have trouble.

Our grandmothers cross stitch was all manual so each area was done in colors appropriate for what it was. To do that, you would have to be able to select specific areas as well as the color for that area. Something like a paint by number?
Of course, I'm not an artist or script coder so might talking through my hat!

Thanks Pat.
The technique chooses already the patch for each area based on best colour and luminosity among those I have in my set (I have a set of them, maybe not enough).

@Pat
Because you have some experience on patchworks, a question to you:
- my idea of patchwork is that it utilizes remainders of fabrics, and the selection is among those, hence they differ not only by colour but mainly by texture; except for a very few of them my set is made of very different "patterns"
- my question to you is thus: is this also what you intend?
Because I'm quite sure that if I select one -nice- pattern and create many different nuances from it, the outcome could be nicer, but it's not what I have in mind by a patchwork.
I need your opinion on that. Thanks

It's very rare to find non-abstract compositions of patchworks even on internet.
The only image which could resemble what I have in mind in this:


(edit: but IMO it's also "false", because I'm quite sure is has been pitted in some places, I do not see everywhere regular patterns as those typical of the fabrics)

My patch work is very limited and I have not done it for years. My aunt and grandmother would save their left over fabrics until they had enough of all the colors for what they were going to do. Most women of their generation did not get much education but they had a method to figure out almost exactly what they needed.

Usually they started with a drawing, not photos. If the image was complex, a square might have been made from 2 different colors so that the shape of the image had the right colors. Because this was laborious, they usually stayed away from complex designs.

I hope there is some one here who has done more patchwork and can help more.

#296 and #298 are proving that you're on the right way. In fact your process needs simple pattern's forms in some case.
The example #305 is not based on the same thing. I think it's based on the gestalt theory. As you can see squares with colors didn't destruct the main form.
In your process, forms depend on light and colors. So if you would like to identify a main form with your process you should build some sort of IA !

Thanks Francis.
I guess I will stop posting on the subject, I can't produce what a human being can do, I'm not expert on AI, as you can imagine.
IMHO the outcomes are often nice to my taste, thus I will keep this filter for my personal plays.
Thanks to everyone who helped me with their comments/indications.

Experiment on a flower.
Original:

Transformed:

Experiments on Colour Pencil.
All source images from Agita Keiri.

...

...

Artodyssey, I love this graphic travel in the past. Colours pencil preserved interesting details, put emphasis on human postures. Very good job Diego.

Thanks Francis.
Today a different play: stress colours.

...and these.

That is what I call the 'Hot Tomato' look!

What about this "vision", animicule?

A new play on graphic aspects manipulation.

A totally different play.
New experiments for reflections on water (flat, no selection like in Reflect On Ponds).

This image is really good looking very real.
"agita-keiri11" is good, too IMO.