Making colour in measured batches

Text A: an original contemporary practice extract.

Our art group collected onion skins that a café would otherwise have thrown away. I wanted to find out whether their appearance affected the colour they produced, so I separated the pale yellow skins from the darker brown ones. Each pan contained 40 grams of skins and an identical strip of white cotton.

We removed sections of each strip after fifteen, thirty and forty-five minutes. This gave us six shades to display, from a faint cream to a deep copper. We mounted the samples in time order and wrote the weight of the skins beside them. Visitors kept asking which shade was the best, but we had not designed the project as a competition. A pale colour might suit one piece of work better than a darker one.

Text B: an original contemporary practice extract.

A market stall gave our workshop the red cabbage leaves it could not sell. Before making the dye, we divided the dark outer leaves from the paler leaves near the centre. We placed 50 grams from each group into matching pots and added equal pieces of undyed wool.

One piece of wool came out after ten minutes, another after twenty and the last after thirty. Instead of selecting the brightest result, we arranged every sample from shortest to longest dyeing time. Each card showed the type and weight of leaf that had been used. Some visitors preferred the soft grey-purple samples, while others chose the stronger ones. The display was intended to show a range of possible results, not to identify one correct colour.

Both texts describe natural-dye projects.

What similarities do the natural-dye projects share in these extracts? Use evidence from both texts to support your answer.