Having always had an affinity with Nature, I didn’t quite realise how therapeutic drawing flowers is; a continuous line to create shape, pattern, form and texture soothe my soul. My Dad always has instilled within me the mantra that ‘there is no right or wrong way to draw, but rather an expression of your own self and individuality’.

The last few days have seen me at my most creative and I am struggling to reign in all my ideas, but one of the core ingredients of my success would have to be the ability to deconstruct an idea then reconstruct it in a number of different ways, which is what I have done.

I am not proficient on Photoshop or Illustrator, but have the technical know-how to create repeat patterns and juxtaposition by the good old fashioned way….BY HAND!!!


This exercise was extremely labour intensive; photocopy each image numerous times, ‘cut out’ with my fingers, arrange by eye, and then spray mount and adhere to the sketchbook page. However, I am really proud of my effort. The flowers I I have drawn are: ROSE, IRIS, & HYDRANGEA.

The process of Repeat Patterns is extremely cathartic for me, it feeds my OCD rather nicely, plus it looks great!!

I concentrated deliberately on form, line and shape first and made the conscious decision not to overburden studies with colour until I knew that the design was strong enough to take forward.


Again, playing around with the size of the image can create a wonderfully cohesive and fluid pattern, not to mention its a wonderful way to make sure that the image works well within the overall space.


Experimenting with the stylisation of Roses within a surface pattern context, adding BRUSHO and water, and then strategically placing an acetate replica of the same image over the top, but making sure that the image is slightly off kilter to allow for a 3-D effect. Colours specifically chosen as a nod to WGSN.


I photocopied (A3) my Felt samples (from my Felt workshop @ Art Van Go) and began by creating a ‘busy, colourful and textural collage background. I didn’t want to use colour within my observational Iris drawing, so photocopied it numerous times and cut out each image (time consuming!!!! 2hours!!!), juxtaposing them to create a repeat pattern. I am incredibly pleased with this design and would love to incorporate this somehow into my final coordinating designs.


Now, this was a labour of love!! It involved experimenting with BRUSHO and water in an atomiser. The idea was to create a range (around 4 A4 pieces of paper incorporating the mixing of BRUSHO colours) colour palettes, which when dry could be ripped up and torn to create a highly textures and fluid (Busy) background. Some of my quick Rose & Hydrangea sketches were juxtaposed as a repeat pattern, eventually being embellished with Gold (Pilot Fine-liner). The result is fantastic, and I am really honing my own individual visual handwriting.





Continuing on, I decided to utilise some of the skills I had acquired during my previous floral explorative studies; now was the time to incorporate colour, line and pattern.


This study used a stylised approach to flowers you would see in a garden, specifically within my Mum and Dad’s garden. Poppies have been stylised, and the Forget-Me-Not’s and Viola within the rockery section of the garden have been described with Derwent INKENSE pencils and a Derwent Water Brush, with a particular use of the pencil and brush to create texture. Faber Castel PITT Artist Pens were also used to suggest the quality of grass/fronds/leaves. This was an enjoyable experience in mark-making, but more than that it gave me the confidence to use these new instruments, having never used them before.


Having applied the principle of vibrant and exploratory mark-making with the INKTENSE pencils and FABER CASTELL pens, I decided to draw directly from life. I ┬ápicked up a reduced bunch of flowers from Aldi (only a few were still in the land of living, but considering I only paid 5p for them I couldn’t complain) and spent no more than 10minutes on this ‘sketch’. I was really bowled over by how fantastic and descriptive these instruments could be when used in conjunction with each other; a dynamic texture, colour and pattern has been created. A cohesive, fluid mark-making exercise turned out to be really successful.

Creating surface pattern/background with simple INKTENSE pencil shading and Derwent Water Brush. The image on the left is the original design, whilst the image on the right has been enhanced in my Mac ‘Photoshop’ via the Enhance tool. I absolutely love the colour and texture of the design and will experiment with applying some of my designs over the top of it; printing directly onto the surface and cutting out shapes and adhering them to the surface will allow me to explore the possibilities of the proposed final digital design.



Playing around with stylisation and motifs; layering and mark-making. Additionally, I have incorporated a kineticism within these designs which draws the eye all over the page…allowing the viewer to choose favourite elements and interpret patterns, which would be incredibly useful when researching for a future client/s.


Observational studies of one leaf at various different angles. The skill of observational drawing will be essential to me as a practitioner as it will differentiate me between the designers who cannot draw. Drawing is paramount to an artist!! It allows ideas to be conceptualised and carried through to a full and thought out design.


The Muslin was cut to length and width, 750mm x 290mm, and I began by printing the individual elements (Mine and Saima’s) out via my EPSON PHOTO STYLUS XP-620, making sure that I followed the specific printer guidelines set by EPSON. The next step involved the meticulous cropping and guillotine the strips and blocks; steps were cut into 2 widths….1.5CM & 0.75CM. The two sizes were able to compliment the blocks and frame the purposeful discrepancies of the design as a whole.


It was extremely important to create a basic structure of pattern, otherwise the overall effect would look odd; each strip and block were juxtaposed to a specific brief.

Once placed in the specific order the strips and blocks were each, one by one, fixed and iron on individually; the three banners taking 8 hours to finish!!! The iron had to be on it’s hottest setting to allow the image transfer to complete successfully.

It was worth it in the end though. You get out what you put in!!

I just needed to wait an hour or so, then I could iron the banners flat before including in the final design.

I was going to embellish the geometric blocks with a satin stitch border, but I just ran out of time. The idea was to create a ‘ladder’ between the black blocks of the base and top; a metaphor for the journey of Hockney between his home and studio in L.A. I had even toyed with the idea of using a black marker to finish this idea, but thought that I would not be happy with the final solution. On this occasion it would be something I would incorporate next time.



What better to create my own individual samples incorporating offcuts of thread and yarn, contained within 5″x 5″ Cellophane Card plastic wrappers. It’s amazing what rummaging through an old box, full of items you never thought you would ever use again, can bear!! These little cellophane wrappers would allow a perfect ‘window’ against a backdrop of light. not only that, I wonder how the light would intensify the colour. Would the thread and yarn act as a barrier? Would this create fantastic silhouettes, or would the light permeate their structure to create amazing patterns and vibrant colour?

Each little ‘wrapper’, even though the idea is stylised, is inspired directly from individual sections found within the whole of Mulholland Drive. The size of thread and yarn, colour and pattern were all meticulously chosen to represent my elements of this amazing painting.

I will attempt to experiment with the adherence of one of these designs to a translucent fabric such as Cotton Organdie. My Light Box will act as the light source for my final design.



Considering I had had so much fun experimenting with Weaving (Paper) in my last project, I took the plunge and began to explore further with Yarn.

At one of my favourite Haberdashery stores in Abergavenny, I purchased two amazing bundles of Japanese NORO Wool (100%); I was instantly transfixed!! The incredible colours permeated my senses, and I knew that these colours were a near identical match to those found within MD.

Having previously purchased 10 x Thick Card Looms for Weaving, I set about stringing the first card (yarn) up. I observed directly from MD, starting from the bottom up, and made the purposeful decision to weave individually cut strands of the NORO Wool and CHUNKY MARBLE Acrylic Yarn together.

It was like I was painting with yarn. This little sample truly encapsulates all 5 words the group chose to describe MD:


Interpreting another section of MD. If I am honest, I could spend a week working on all 10 Card Looms!! For me, the most meaningful element of this exercise was discovering how much I love to utilise my hands; the receptive nature of weaving has allowed me to obtain tactile memory, of which I think I will cherish for the rest of my life.

This sample was a ‘continuous’ yarn, albeit many separate yarns cut and tied together. It is a direct interpret ion of the central Blue, Red and White Hill, or ‘Haystack’ as I think it looks like. Having analysed the structure using weave, I now feel confident in undertaking many other exercises when interpretation other artists work or even my own. Subsequently, I am now developing a far greater understanding of who I am as an artist; it’s only taken 37 years!!!

Going forward, I think I would like to scan these samples and manipulate the images using Photoshop. Repeat patterns and juxtaposition could create some new and exciting designs. How about printing the scanned images onto Mulberry paper and utilising bleach to manipulate the colour? Or printing onto Acetate and manipulating with a Wing Needle? A decorative machine stitch may look fantastic. Watch this space.


3rd day that I had decided to utilise the empty Stitch workshop at Uni.

Before I arrived at Uni, I took a trip to Hobbycraft to purchase some mandatory and some new equipment for a few new ideas rolling through my head:


The Chenille Stems would be used in some context with raised 3-D stitches (Fringe foot)….so began my experimentation.

A double zig-zag stitch was incorporated on a heavyweight cotton fabric (no backing necessary). A blue glittery chenille stem was placed before the Fringe foot and guided through the stitches travelling down the fabric, resulting in the stem contained in a ‘cage’ of 3-D stitches; colour was purposely chosen to interpret the main colours found within Mulholland Drive……..YELLOW, PINK, PURPLE, RED, GREEN & BLUE. The result is fun, playful and stylised. The blue glittery stem acts as a catalyst to reflect lights and energy.

This next design came about from the idea of splicing colour contrast/harmony with creating a 3-D effect using thread. Some of the coloured thread employs a direct contrast, while others engage the idea of colour harmony. The colours look far more vibrant and expressive when looked at in person.

A Herring Bone stitch was embellished onto the surface of the same used in the previous sample, but on this occasion I decided to employ a double layering of the same stitch, creating a colour fusion and smorgasbord of texture. The colours demonstrated on this sample can all be found in Mulholland Drive.

Even the underside (reverse) of this sample has a beautiful pattern; I am always surprised at the wonders of stitch and the endless creative outcome it generates.

Subsequently, the more ideas I originate, the more knowledge I obtain.

The Mirrored Card, Coloured Lollipop sticks and Cellophane card wrappers will be utilised within the next couple of days…..WATCH THIS SAPCE.


Yesterday my Mother and I decided to take a trip down to Romsey, Hampshire. Our main aim was to experience the Kaffe Fassett exhibition before it finished on January 14th. We had been meaning to see it for months, but unfortunately we never seemed to have any spare time, but the Christmas holidays seemed a perfect time to finally journey down.

Immediately I was struck at the scale of his work!! I thought there would be large pieces, but was unsure at just how large they would be.

There were 5 distinct separate areas (rooms), all of which were painted a specific colour (chosen by Kaffe himself), and the idea became apparent to experience the juxtaposition of the garments, textiles and artworks against a smorgasbord of these explosive colours.


The detail of each piece was incredible, not to mention how labour intensive the designs would take to create. The patterns and geometric shapes were mesmerising; feeding into my own ideas for my Field project subconsciously. The colours flooded my senses to the point of sheer unadulterated passion, I was transfixed.


The level of craftsmanship was exquisite!! The colours chosen to adorn the walls enriched each separate piece, which in themselves looked alive. Fassett’s use of bold colour mirrored that of Hockney’s Mulholland Drive; pattern and mark making contained within cloth. For me, the most important aspects of the juxtaposition of different colour enabled me to understand colour theory in more depth and clarity.

I would quite happily save up and spend a small fortune on this chair! Drawing with Stitch. Blown away. Subsequently, I began to question my own use of colour within my own work, and how it affects the atmosphere of individual work, but more importantly that of a cohesive collection.


Possibly my least favourite room. I really enjoyed the geometric sure runner, but realised that this colour is probably one of my least favourite colours to use. I find yellow to be the most incredible colour, once viewed in Nature, but would not choose it on purpose when undertaking my own work. This understanding is essential for me as a practitioner because it enables me to create my own unique brand and visual handwriting, even when it comes to colour.


WOW!!!! Having experienced the Cream, Yellow and Green rooms, I knew that I would love this room. The contrast and harmony between all the colours was astounding, I felt totally at home in this room. The confidence of Fassett’s colour utilisation demands me to be as bold when experimenting within my own creative practice. I have always been fascinated by the geometric and symmetrical patterns within Quilts, and aim to continue practicing this tactile and homely form of creating design with cloth.



I normally loathe Pink!! However, strangely enough this was my favourite room!!! Having experience a positive reaction to this colour, I now question which other colours I may enjoy working with when looking within a certain context.

Most importantly, I have learned that it is essential as a creative practitioner to immerse oneself in as much visual research as possible, not only will this make me a more rounded designer, but will also allow me to grow as a human being.