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.





Hand-writing is your own personal style. It’s the bit that sets you are apart. That’s the mark-making you employ, or the medium you use. It can also be affected by the style/ genre you are working within.

It is vitally important to have your own Visual Handwriting, what are you without it?

What is Identity? The characteristics determining who or what a person or thing is.


What is Identity important? Well, it differentiates between me and the next person. Imagine a world in which we all dress the same, look the same, come up the same ideas and create the same designs; not a world in which I want to belong in. But why is it so important to have my own unique visual handwriting? It defines who I am as an artist and is a direct result of how I interpret the world around me.

I decided to conduct a little experiment of my own today. If I copied the work, specifically floral designs of other artists, would the work look identical or would my visual handwriting create a new story?


Is my identity the marks I make in my art? Is it how I interpret the subject matter through my own two eyes? I thoroughly enjoyed drawing this Tulip/Floral arrangement; it allowed me to expand my mark-making repertoire, which in turn will allow me to become a more experienced and creative artist.  Cabinet (Oak, veneered with marquetry of various woods, copper, pewter, tortoiseshell, horn and lapis lazuli), 1680 – Andre-Charles Boulle. 


I was instantly drawn to this design; having spent nearly all of my childhood spring/summer in my garden,orchards or woodlands abroad, the imagery of apple blossom is synonymous with warmth and magical nature adventures with my Dad. Drawing this allowed me to pour some of my happiness into the drawing in the form of adding a little pink and purple, which strangely in the past I would not consider. Apple/Pirus malus en Peer/Pirus communist, 1905, Lithograph – Theo Nieuwenhuis


I did not want to incorporate the colour from this design, but rather tried to encapsulate the essence of the corolla and large petal size (looking at the WGSN Trend forecast from BUSY BLOOMS). For me, the most important aspect of this exercise was learning which of my own preferred techniques could offer the most dress, unique and new take on a traditional process. For example, I would love to see how COLLAGE could transform this linear drawing into a fully rounded and highly textural design.

What medium would I use for the collage? Could I spend a day creating a varied amount of different exploratory mark-making studies? Could these studies serve as the medium I use to deconstruct and then reconstruct this design?

Spending time utilising the visual handwriting of others has been invaluable; not only have I a new found respect for the creative processes of others, but I have also improved upon my own way of working.