Tints and Shades

[RiverNotch]

Rough.

Tints and Shades

I’m forgetting what you looked like
without pixels tied to color 
but I always painted you a cherry hue pixels to paint -- not a very coherent combination, i think, with pixels too digital, or paint talking about conjuration where the earlier two lines talk about documentation. i suggest scrapping pixels, so that your speaker could better bank on all this talk of colors and the weather, ie painterly things.

and I remember when I noticed the speaker forgets what the object of her affections looked like, but remembers how she once viewed her. interesting, though not as noticeable with the three complete clauses stitched by conjunctions into a single sentence.
that your cheeks were more like thunderstorms
Puffing, pouting, always passing through. puffing, and pouting is neither stormy nor cheeky.

I forget how my legs mixed with yours now the speaker forgets her actions in the presence of her beloved, but remembers the hows behind her beloved's. 
atop my tired mattress
and if they’d clap along like waves 
or melt like sun these two lines: beautiful, but kinda awkward, as i don't quite see the contrast between clapping along like waves or melting like sun, or why those metaphorical descriptions should come after the mixture. perhaps "and how", instead of "and if", among other changes.
But I remember how you’d stare but. also, same problem regarding too many clauses as in the previous stanzas, especially since there are no clear hints that those run-ons are supposed to say anything: the speaker seems clear enough on what she does and doesn't remember.
you’d smooth your lips and pat my hair
and laugh when I told you that I was scared i feel like this should be in iambic, just like the lines immediately above and below: and laugh when i would tell you i was scared
you’d run.

Yet here I lie in sheets that I have come to think of it, you may be able to wrestle the whole into meter, and considering the pillowy romance of this piece, that might be for the better (thus, yet here i lie in sheets i have)... anyway, the speaker compares her tidal memories to her current situation.
piled mountains deep meh'd at this metaphor. not related enough to the sea or weather imagery of the rest of the piece, especially considering what continues the thought is better connected (the cotton bleeding into skin returning to said cherry hue).
In the hope their cotton bleeds into my skin. in.
Curves and caves lie low
nostalgic undertow, awaken
Crawling hunger howls within. crawling. weird sentence, for a poem that has so far dealt in (at least) coherence: curves and caves lie low nostalgic undertow, awaken crawling hunger howls within. paints a pretty picture, though, but such does not save.

While sunlight sashays against my wall personal note: first thing i thought with sashay was rupaul. ignore that, it's an apt word.
and I breathe in patterns known  ,
I know that time has welcomed change
Encrusting mossy stones. encrusting, and comma, not period, at the end. also, the sudden personification of change here is somewhat bothersome, although perhaps the piece just forgot a couple of words.
Bringing to fruition the awareness following the earlier suggestions, bringing.
I have grown , especially with the distance it adds between this and what follows.
but how you’d laugh and pat my hair
when I warned I would lie alone. when i warned you i would lie alone. a weak ending, yes, but i'll hazard a fuller explanation, one that hinges upon something i earlier guessed as an oversight rather than a real fault: at this point in the poem, change is treated as too abstract a force. not necessarily a bad thing, sure, since to give proper cause and effect would make for a completely different piece, but without the same level of description given to both aftermath and relationship, the break-up itself, which as suggested by this stanza is the ultimate focus of the piece, becomes forgettable. to start with, in discussing or evading said break-up, perhaps remove the speaker's sudden knowing in this stanza's third line, while returning to the theme of memory in the first three stanzas? although of course it's all up to you.