If I were to choose my current favourite design company it would have to be TIMOROUS BEASTIES. How did I find out about this company? It was actually my Damask bedspread that led me to TB. I have always been fascinated by the symmetrical and repeat patterns of Damask wallpaper/fabric, so a quick search on the internet for Damask and Textile Design came up with the goldmine that is this innovative and forward-thinking design company.

Why do I love this company so much? Here are a few reasons why……

(Clockwise) Beasties, T. (2017) Damsel Damask, Omni Splat, Butterfly Blurr & Grand Blotch Damask. Available at: http://www.timorousbeasties.com/shop/wallcoverings/ (Accessed: 14 May 2018)

The contemporary use of design and colour is spectacular!!! Whilst undertaking this current project at Uni, I have begun to comprehend the subtle complexities of creating a repeat pattern for the Interiors market; something I am 100% sure I would want my own designs to be available for.

‘Our Product is highly crafted and designed. It’s always quality first’ Timorous Beasties

The sheer attention to detail resonates so strongly with my own core values as a designer. I think that having OCD has actually been both a help and hindrance within my creative practice; a help in being meticulous about what I include as part of my creative output, and hindrance due to my procrastinating and always trying to make sure everything is perfect.

The designs of Timorous Beasties have allowed me to accept that I am not perfect and that these imperfections can be utilised as a strength within my designs.

Having struggled with the repeat element and to incorporate all of my ideas I decided to undertake a back-to-to basics approach in creating ideas within my sketchbook, which will ultimately be transferred to Photoshop and manipulated digitally.

I am really proud of my ideas and will spend the next couple of days really honing the concept.


A natural progression from a more traditional style of a hand-drawn collage bouquet to that of a reflected contemporary design, influenced by Timorous Beasties.


Utilising my strengths, specifically observational studies fused with collage, painting and drawing, I began to expand my idea of using specific elements to amalgamate into a cohesive and fully rounded design. Yes, there are still areas I need to work into and complete, but I now have a strong concept of what my final collection will look like.



My evolution/progression of trying to bring all my ideas together into one cohesive design collection has been both exciting and extremely stressful. I have had little resistance to constructing new and exciting visuals for my floral designs, but have absolutely hated the digital side…..I still am unable to proficiently translate my ideas into the fantastic world of Photoshop and Illustrator.


This was done by hand…..and with a lot of patience too!!!!! Lots of printing out an image and manipulating it vertically and horizontally to create a mirror effect. I love the interplay between colour and monotone, but feel the design is a little to graphic. Helen and Sian raised the fact that the floral motifs didn’t sit quite correctly with the stylised rose motifs; floating heads I believe they called it. What could I do to remedy this? Could I permeate the colour outwards into the monotone floral motifs? Would this create a softer and less graphic aesthetic? This is something I will definitely explore.


Continuing on from my previous design I wanted to create a softer and more fluid description of the greenery of flowers and plants. Believe it or not this design was a mistake!! I was trying to use Brusho to create a pattern from a Vellum Tracing Paper Stencil, which didn’t turn out as successfully as I had hoped. However,  every cloud has a silver lining; a direct transfer of the excess crystal pigment and water from the Vellum Stencil onto paper created the most beautiful pattern, which instantly reminded me of the leaves/greenery of my chosen flowers. Again, I manipulated the design and printed it out flipped horizontally and vertically to create a mirror repeat. I ABSOLUTELY LOVE IT!!! I could imagine seeing this printed on fabric and embellished with a digital stitch replica of my linear observational drawing of a Rose.


Seeing my Rose drawing made me remember something that Helen had said in one of my PT’s; looking at the linear qualities within my work to see how I could manipulate them to create a range of new surface pattern designs. I thought I could fuse one of my favourite techniques…….COLLAGE…..to create something textural and visually exciting.


Printed out numerous copies of my Rose drawing, ripping into varying different sizes and adhering to paper with Pritt-Stick. I am so happy with the resulting design idea and think it would look fantastic as a BLENDER design within my collection. Could I manipulate it in photoshop to create it as a new colour? This is another avenue to explore when I finalise my colour palette.

As Paul Klee once said ‘DRAWING IS TAKING A LINE FOR A WALK’. The linear kineticism of this design is intense…..I LOVE IT.


I wanted to progress my initial design into something more descriptive of a Secondary pattern, so decided to utilise some of my chosen colours within an existing monotone design. Taking inspiration from KAROLINA YORK PRINT STUDIOS I wanted to fuse the hand-drawn element with bold and on trend colour, specifically only choosing to colour the alternate diagonals. Where could i take this further? I would like to see what colour background would work with the chosen colours and monotone hand-drawn element. Watch this space.


This design was created with the remnants of a previous design idea, but me being me decided to incorporate the knowledge gained from researching COLOUR THEORY @ THE BAUHAUS, specifically looking at Johannes Itten, Wassily Kandinsky, Paul Klee and Josef Albers. Could an element of my design be utilised in both geometric and organic way? It is reminiscent of a design by GP & J BAKER…..’BARCELONA’ in Indigo.


I adore how each floral interpretation has been framed to create an almost gallery like quality of fabric. Motifs both separate and fuse together all the design ideas.


Arranging my Daffodil observational drawing into a mirror repeat. Yes I know that there is no colour in the flower, but I was actually toying with the idea to utilise the colour as a background. Could I toy around with mixing a range of yellows to create depth? Could I utilise coloured green stencil cutouts to create a motif around the daffodils too?


I chose to create this leaf motif on a separate page to see if I actually liked the design, but as it turns out I do!!!! I need to cut out more of this colour/pattern/design, but am looking forward to exploring how to create a repeat in Photoshop too. I have thoroughly enjoyed this avenue of exploration and now feel far more confident of what to include within my final collection.


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.





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.