Exploring London while responding creatively has been a deeply sensory journey that reshaped how I perceive and record the world around me. Walking through Shoreditch, Spitalfields, and other corners of the city, I was drawn to its textures, brick walls layered with graffiti and its contrasting atmospheres. I have used mixed media approach to capture the diverse experiences that I encountered. Observing the city’s interplay of structure and spontaneity allowed me to see beauty in the small moments and made me feel like I was exploring myself. Working outdoors made my process more instinctive.
One of the main challenges I faced was learning to let go of control and work intuitively. At first, I found it difficult to capture the fast pace and unpredictability of London without overthinking composition or detail. However, embracing spontaneity without worrying much about the outcome through live sketching practice and mark-making became one of my key successes as it allowed me to create more expressive and dynamic outcomes.
Moving forward, I would like to explore and experiment further with scale and layering perhaps translating larger sections of my drawings into fabric samples or digital prints. I also plan to explore colour relationships more intentionally to strengthen the connection between my sketchbook exploration and future textile design practice. I aim to refine this dialogue between observation and interpretation by transforming my drawings into textile designs and print. If I were to do it again, I would focus on adding more layers into my work to explore how different materials interact. This could enable me to achieve a more dynamic and visually engaging outcome that would be helpful for my textile design development as well.
I visited the Lee Miller exhibition, highlighting the periods in her life and work. I chose to be inspired by this because as a long time fan of her work, I admire how differently they can be perceived and believed it would be interesting to and play with.
Taking inspiration from an exhibition that already features completed pieces by another artist initially proved to be challenging, however I realised that I can view it through different cultural and historical lenses to communicate what I perceive. While responding to a self portrait, the direction it took reminded me of Mediterranean culture which ended up inspiring my colour choices.
Overall, I think used a good variety of mediums to draw with and on as well as techniques. I applied white acrylic to create texture before painting on top with watercolour, which I hadn’t done before. In another drawing, I used water and colour splash to recreate the dynamic relationship between the land and sea. I made a collage of a landscape she photographed with coloured paper and scraps of a drawing that did not work.
I could have played around with scale, zooming in and out more to see how my results could have turned out similar but different, especially for “talking pattern”. In interpreting, I neglected to play around with that and I looked at subjects at a distance and depicted them as they were . After realising this I made different drawings to pick smaller elements for pattern and I think it turned out well.
1. This is the pattern of blue chrysanthemums I observed in the horniman garden. I drew this picture with an oil painting stick, and I also replaced the background between each chrysanthemum with color blocks.
2.This is the fig I observed in the borough market. I also bought some to cut and observe his patterns at home. I used watercolor and oil painting sticks.
3.This is the mushroom I observed in the borough market. I extracted its shape and structure for topography, and I also extracted the pattern at the bottom of it.
4.This is the cut pattern I observed when I cut tomatoes when I was cooking. I drew it with an oil painting stick.5.This is the pattern of my continued extension of mushrooms. I used watercolor and acrylic markers.6. This is the cut pattern of strawberries I observed. I used oil painting sticks and markers.7. These are the flowers I observed at home. I selected some of the flowers and drew them with oil painting sticks.
8. This is the pattern test of different positions on the scanned page of the last flower on the digital app.
9. This is what I observed when it was dark that the building outside the window was blue by the color of the sky. I used the geometric part of the building as a pattern. I used watercolor and colored pencils.
10.This is the scene I encountered when I was traveling. The bricks on the building attracted me very much. I drew it with watercolors and colored pencils.
11.This is the onion I observed in the borough market, and I drew it with watercolor.
Reflection：
In the task of talking pattern, I learned many plants, and I also observed part of the street scene. My favorite part is to observe the cut surface of fruits to find out their patterns and textures. In some paintings, I used to zoom in/zoom out, such as mushrooms. The painting of the mushroom, I enlarged the texture extraction pattern at the bottom of it. I mostly use oil painting sticks, because I enjoy the process of using oil painting sticks. I also use some digital skills, such as repeating patterns and mirroring some of the patterns through software. I think my success in this project is the painting of the cut surface of the fruit. My favorite one is the painting of the cut surface of the fig, because in the process of observation, I found that the cut texture of the fig is the most complex. I like the way I use when I draw. The improvement should be that I can create with more different media, such as collage.
This creation made me realize that there are many things with rich patterns in our lives, especially fruits, whose structure is complex and diverse. I think these structures can inspire me to try to find more patterns to use in textiles.
For the process of talking color, what I enjoy most is the part of observing the fruit. The part I will improve is the use of the medium. The part of talking color architecture and the part of talking pattern are It ‘s related. I used more details in the part of talking color, but I used color blocks to express the architectural part of talking pattern.
The inspiration came from a detail shot I took last week at the museum — a close-up of a decaying part of a plant fruit, which was situated next to a healthy one.
2. While drinking soda, I was captivated by the bubbles and took a photo. Later, I mixed watercolor with dish soap, created foam, and meticulously filled an entire page with it to convey the essence of bubbles.
3 & 4. Both works are derived from a small, greenish, peeling fragment of a building that I photographed during a group practice activity at the start of the semester. One was created using acrylic on paper, while the other was made with crayon and pastel.
5. On the left, I enlarged a detail of my gourd rope and reproduced it using embroidery thread. On the right, I achieved a similar effect using colored pencils.
6. I zoomed in further on the gourd rope, opted for oil pastels, filled in the pencil sketch with them, and used the edge of the pastel to depict the frayed strands of the rope.
7. This piece was inspired by a moment when I was painting late into the night. I looked up and noticed the striking contrast between the lit windows and the dark walls of the building across from me.
8. After observing a display board, I selected embroidery threads matching its colors and wove them together. However, I felt the piece should have been larger to be more effective, but I didn’t have enough thread.
9. This also focuses on the display board, but I zoomed in for a more detailed shot and carefully studied its structure.
10. While trying to wipe a stain off my hand, I noticed an interesting texture on the paper towel. I used my phone to take a close-up photo and then sketched it.
11 & 12. Both pieces depict the residue left in the transparent cup I use for washing brushes. I used two different mediums — colored pencils for one and watercolor for the other. The black lines in piece No. 12 represent the texture of the cup.
13, 14 & 15. These three works all focus on the air holes in a biscuit. I discovered these tiny holes in a biscuit I often eat when examining it against the sunlight, enlarged them, and analyzed their structure. No. 15 is an outline traced on tracing paper, using different colors for contrast. No. 13 is drawn with colored pencils and partially colored. No. 14 combines both techniques.
This is based on the bottom of my gourd, which I chose to draw repeatedly. I used oil pastels to recreate its rough texture and layered colors to achieve a more blended effect.
For this task, I conceived numerous ideas involving objects, mediums, and colors, yet the final selections emerged through a process that felt both random and interconnected. For instance, while sneaking some small biscuits during the teacher’s lecture, sunlight happened to stream into the room since it was a clear day. Illuminated by the light, I noticed the tiny round holes in the center of the biscuits—likely designed for ventilation during the steaming process. Later, while painting, my attention was captured by the display board on the right, fascinated by the interweaving colors. Then, as I contemplated which painting materials to use, I found myself drawn to the transparent cup I use for washing brushes. The residual pigment stains left on the cup struck me as a form of printmaking. A series of such interconnected observations ultimately culminated in the final artwork. I also experimented with various methods. For example, in one piece, my inspiration came from the bubbles in a soft drink—I took a photo of them and began thinking about bio-fabrics. Lacking the proper tools, I improvised by adding dish soap to watercolor paint, vigorously stirring the mixture with a brush to create foam, which I then skimmed off and applied to paper. I allowed it to dry, embracing the resulting texture. What distinguishes this approach, which I refer to as “talking pattern” and “talking color,” from my previous work is a shift in focus. In the past, I tended to prioritize whether the overall shape accurately reflected the original subject. However, inspired by a recent Tuesday class, I now place greater emphasis on texture and color effects. I find it particularly intriguing to transform limited imagery into unique patterns. Moreover, by reviewing examples from online classes, I’ve gained a clearer understanding of what I currently need—or what I still lack. I am also actively experimenting with combining different mediums to explore new effects.
Due to prolonged illness, I was unable to observe external subjects. Instead, I studied my own body’s subtle changes, translating sensations into visual language within my sketchbook.
During my illness, the pain and subtle tremors in my throat and teeth became the focal point of my contemplation. Unable to explore the external world, I turned inward, examining these subtle shifts in bodily sensation and emotional fluctuations. Using watercolour, ink, and coloured ballpoint pens, I employed a layered drawing technique to capture the body’s rhythms and instabilities, transforming the tremors of my teeth and the state of my mouth into multi-layered visual records. Through repeated layering and transformation of these forms, the paintings emerged. I transform these into print-like compositions, experimenting with colour, transparency, and visual rhythm. This process serves both as personal documentation and as an exploration of how materiality and repetition can visualise inner discomfort. Through layering and distortion, I convert bodily fragility into patterns suggesting tremors, anxiety, and metamorphosis, reflecting the intertwined realms of physical experience and emotional perception.
The state of tension in the oral cavity during illness, a process of constriction and disorder
During my cold, the ache in my teeth felt like countless tense moments, as if mushrooms were sprouting from them. I meticulously captured these sensations and transformed them into print-like compositions, exploring how pain and fragility can generate vitality through layered arrangements
Plant Garden
Through close observation of various plants at home, I recorded their growth using mixed materials and collage drawings. By shifting perspectives and magnifying details, I explored both organic forms and everyday chaos, finally expressing these layered observations with oil pastels to capture texture, intimacy, and transformation.
In the “Talking Pattern” project, I tried many ways to record patterns that I found interesting. For example, when I went to a restaurant, I noticed the lampshades above were made from bamboo. Another time, I bought a piece of matcha mille crepe cake and found its texture to be neat and interesting . I also saw an art installation by Rui, she combinated of stones and fabric was also very interesting .
I learned the method our professor showed in class: first, observe a place as a whole, and then looking on a specific detail. This change in can lead to a completely different feeling. This is exactly what I tried. My favorite was the texture of the final set of mushrooms. At first glance, I thought they all looked almost the same except for their color. But when I looked closer and used a pencil to sketch them, I could better capture how the shapes and textures inside the mushrooms varied. Some lines were thick, others thin; some long, some short, creating a sense of unevenness.
It was the same with that stone installation. My first impression was that it was just ordinary stretchy fabric covering stones. However, when I examined it more closely, I discovered the stretchy fabric was actually made of lace, and the lines were incredibly dense.
Through this project, I learned to look at objects from different methods and angles. It’s about seeing beyond the surface shape to understand the inner structure and details.
During the first week, I finished 10 paintings around the theme of “Talking Colour”. In the process of creation, I tried different kinds of tools, including watercolor, acrylic paint, acrylic markers, pencils and ink pens; I also used not common painting materials, such as paper towels for wiping the table, plastic film of the paint, and even medicine boxes. The content had specific things (house plants, homemade toast, pinecones) and abstract expressions (abstract paintings based on flowers, the color feelings that autumn brings to me). Among them, there were the most abstract paintings because I thought they could better show my own understanding of colors in a subjective way.
During making these works, I had a lot of feelings. From the time I picked up the pen to the moment I put it down after finishing the painting, my heart was changing all the time. Some paintings took more than half an hour, even nearly an hour; but others could be done in just a few minutes. Different paintings and different ways of making them really brought me very different feelings.
When I draw concrete objects, I feel very steady. Especially when I look at the textures of plants and the texture of toast carefully, I can clearly feel how color and form are connected. But when I draw abstract flowers and the colors of autumn, I feel very worried. I always fear that the color combinations can’t pass the feeling I want to show, and I’m afraid that if it’s too abstract, the people who see the paintings will not understand what I’m drawing. I also worry that the colors may turn black when mixed together. The feelings I have after seeing the finished paintings are all kinds of and complex. For example, I really like some paintings, like those using thick layers of acrylic to show the feeling of a flower bed. I’m especially happy about the cracks that come out when the paint dries. But for some paintings that want to show the atmosphere of autumn, I always think the color combinations are very messy and not like what I planned. As a result, the picture looks a little dirty. I feel a bit sad, thinking that I haven’t been able to show the natural harmony and beauty of colors.
So I started to think: What have I really learned? What still need to be improved?
I think the good thing I got from these ten paintings is that I tried many tools and subjects. For example, I used a brush that wasn’t moistened to poke on the paper to make texture, and even put different colors on top of each other to make the visual effect richer. The toast painting made with watercolor and acrylic marker pen has a better sense of thickness than I thought before. But I also thought about my weak point: I don’t have a clear direction when creating abstract works. I choose colors just by how I feel and don’t make a plan first, which makes some works look messy.
Realistic paintings are easier for me to handle than abstract ones. I wonder if there is a deeper reason behind this? Because abstract art often doesn’t need much thinking, but realistic art needs more advanced skills.
After thinking, I got the following analysis: I succeeded in specific painting because I can look at the subject directly and have clear references for colors; I failed in abstract creation because I didn’t hold the core of “color expression” in “Talking Colour”—though I know abstract paintings pass emotions through colors, I don’t have a systematic way and don’t know much about color psychology, and I haven’t put theory and practice together.
Now I understand that creation can’t only depend on “intuition”. No matter it’s a concrete or abstract theme, I need to make clear the message that the colors want to pass first. At the same time, though trying many tools is good, I should choose the right tool according to the theme to avoid using them without a clear reason.
Before the next creation, I will spend 2 to 3 minutes in my mind to think of a “color scheme”, making clear what each painting wants to express through colors; if I will paint an abstract work again, I will first go over the theories of color psychology, like using warm tones to show vitality, cool tones to show tranquility, and whether to use contrasting colors and other skills.
This pattern was inspired by a beautiful flower I encountered during my visit to Kensington Gardens. As I wandered through the park, the vibrant pinkcolour immediately caught my eye. I was also drawn to the flower’s unique shape, it stood out distinctly from the others around it. The texture was equally fascinating, almost inviting me to reach out and feel its form. The backdrop of lush, varied shades of green only enhanced the flower’s presence, and I could already envision a dynamic pattern beginning to take shape. To capture both beauty and texture of what I saw, I explored a range of materials in my own work. I used watercolours for softness, oil pastels for depth, black felt pens for bold definition, and coloured fine-tip pens to bring in detail. Eahc medium added a different dimension to the piece.
To push the design further, I turned to an app called ‘Mirrorly’, where I experimented with creating mirrored versions of my pattern. This playful process opened up a whole new perspective, transforming my orignial drawing into a series of captivating, symmetrical designs. The mirrored shapes added rhythm and complexity, giving the pattern a fresh, dynamic energy that felt both familiar and entirely new.
3.This floral pattern holds a deep personal meaning for me because it’s inspired by a flower from my grandma’s greenhouse back home. I made sure to add different colour shades to the flower to add texture, but I feel like next time i could’ve added a black fine liner pen to the painting to give more of a defined look. The colors and shapes in this design bring back memories of spending time with her, surrounded by the plants she cared for so patiently. The soft blues and deep purples make me feel calm and connected to home, while also expressing a bit of who I am through art. Creating this pattern lets me hold onto those memories and feelings, turning something personal and meaningful into a piece of work. I really enjoy the watercolours in this painting because they create a soft and calming effect that makes the artwork feel gentle and natural. The way the colours blend together gives the petals and leaves a smooth, flowing look, almost like they’re alive and moving. I also enjoy how the watercolours add texture and depth, with lighter and darker areas that make the painting look more dynamic and expressive.
4. After creating the original floral painting, I then decided to experiment further by digitally manipulating it on my laptop. I duplicated and arranged the image multiple times to form a repeating pattern, exploring how the composition could transform into a effective design. The result turned out beautifully, each repetition enhanced the rhythm and flow of the flowers, creating a sense of harmony and movement across the page. The contrast between the rich purples and soft blues adds depth and sophistication. I think this design would look stunning as a wallpaper or fabric print, as it brings a touch of elegance and nature-inspired beauty to any space.
5. This pattern was inspired by a close-up of a green leaf I found in my local park. As I started observing it, I became fascinated by all the tiny details, especially the veins, which created such a beautiful and natural pattern. I really enjoyed following the curves and marks, almost like tracing the leaf’s story. Using a fine black pen made those details stand out in a way that felt bold and expressive. Adding different shades of green watercolour in the background gave it a soft, calming feel that reminds me of being surrounded by nature.
6.For this pattern, my inspiration came from an unusually shaped flower I found at the Botanical Gardens in my hometown in South Wales. When I first saw it, I was drawn to its imperfect beauty, some of its petals were missing, yet that made it feel even more special and full of character. It reminded me that even things that look a little broken can still be beautiful, and I wanted to bring that feeling to life in my work. While I was at home, I had access to all of my art materials, so I made sure to make the most of them. I experimented with a hot glue gun on cotton fabric to capture the flower’s texture and movement, then added blue dye ink around the glue, which gave the piece a calm and expressive quality, almost as if the flower was coming back to life. I later decided to develop this pattern further by experimenting digitally on my laptop. I played around with copying, repeating, and rotating the image in different shapes and angles, and I felt excited watching it transform each time. This process made me feel more confident and creative, it reminded me how much I enjoy exploring new techniques and helped me strengthen my editing skills while discovering new ways to present my work.
7.After that, I decided to print the pattern onto white cotton fabric using a heat press to see how it would turn out, and I loved the result. I like how the repetition gives the design a sense of balance and structure while still feeling organic and natural. The addition of the yellow thread, sewn in using a sewing machine, adds a lovely touch of colour and character that brings warmth and personality to the piece.
8. This pattern was inspired by the variety of marks and patterns I’m surrounded by in my room. This time, I wanted to create something more spontaneous, a pattern that flowed freely from my hand and mind, without overthinking it. This piece reminds me a lot of an optical illusion, it draws me in and almost plays with my eyes in a really captivating way. I love the variety of mark-making and how the bold, vibrant colours bring so much energy and movement to the pattern. Using coloured acrylic felt-tip pens made the process feel really free and expressive; I enjoyed watching the colours build and blend together. The finished piece feels lively and dynamic, and it makes me feel inspired and uplifted every time I look at it.
9. This drawing was inspired by a plant pot I came across in my local café. Something about its simple design caught my attention, and I wanted to capture that feeling in my work.To create the pattern effect, I used layers of ripped coloured tissue paper for the background, which turned out really interesting. I love how the different colours overlap and blend with each other, creating new blocks of colour and subtle transitions. It adds so much texture and depth to the piece, making it both visually engaging and fun to touch and look at. This pattern was created through freehand mark-making, where I focused on movement and expression rather than precision. I loved the feeling of letting my hand flow naturally, allowing each mark to develop its own rhythm. The overlapping lines and varied textures give the piece a lively and spontaneous energy.
10. This pattern was inspired by the artificial tulip in the photo. I really like how the shapes and colors flow together — the mix of reds, greens, and blues feels really alive. The curved lines from the leaves give the pattern a nice movement, almost like it’s growing out of the page. I also like how the brushstrokes overlap and blend, it gives the whole thing a textured, layered feel. It’s loose but still has structure, which makes it fun to look at and experiment with. For this pattern I experimented with oil pastels and acrylic paint
11. To develop this piece further, I decided to use the app ‘Mirrorly’ again because I thought the colours and the different types of mark-making would work really well with the mirrored effect. I really like how the symmetry completely transforms the original pattern — it feels more structured and balanced, but still keeps the expressive and organic quality of the paint. The mirrored shapes almost create a new flower-like form in the centre, which I find really interesting. I also love how the repeated lines and colours draw your eye inward, giving the whole piece a sense of movement and depth.
12. This pattern was inspired by the previous flower design I created using the hot glue gun. This time, I decided to photocopy the pattern onto paper and use my sewing machine from home on the loose embroidery setting with blue thread to recreate the flower shape. I really like how the blue stitching turned out, it makes the pattern stand out more with the pink backround and adds a bold, edgy feel to the piece. The texture from the thread also gives it more depth and makes the design feel more dynamic and tactile.
REFLECTION
During the second task of this project, which focused on pattern, I explored a range of techniques to discover and create different textures and designs inspired by both London and my home. Much of my inspiration came from nature, I found myself drawn to the shapes, colours, and details found in local parks and gardens such as Kensington Gardens, the Botanical Gardens in South Wales, and my grandma’s greenhouse. I’ve learned a lot about myself as an artist and how I connect with my surroundings. I began to notice that inspiration can come from almost anywhere, from nature, textures, and colours, to simple everyday objects that often go unnoticed. I realised that I enjoy taking these small details and transforming them into something creative and meaningful. Working on each pattern taught me how to slow down, observe closely, and express emotions through colour, line, and texture. I also found that I’m naturally drawn to organic and flowing designs that feel alive and expressive. What I enjoyed most was experimenting with different techniques and materials, from watercolours and fabric to digital editing and stitching, and seeing how each one changed the outcome of my ideas. Each stage of the process gave me a chance to discover new ways of working and helped me become more confident in exploring my creativity. I learned to embrace trial and error, trust my instincts, and let my work develop naturally. Overall, this project has helped me grow as an artist, showing me that inspiration is everywhere and creativity often comes from simply being open to experiment and explore.
Here are a few paintings and observations from my visit to the Horniman Museum and Gardens. I found it really inspiring to observe the wide variety of plant species, and I wanted to express their vibrancy through colour and mark-making. I love the abstract feel and the sense of depth that the marks create, but I found it quite difficult to blend as the oil pastels felt quite waxy. Because of this, I couldn’t blend or layer them very effectively, so I decided to use toned paper to add depth. This worked really well, as the slightly rougher texture of the paper allowed the medium to adhere better.
I also created a few quick, inspired watercolour responses. I wanted to express the soft, effortless feel of the flora, and I felt that exploring this medium allowed me to capture that through gentle brushstrokes.
This piece is a more intricate observation, focusing on detail. I thought it would be interesting to take this idea further, so I digitised the drawing and experimented with mirroring to create a block pattern. I think it would be really interesting to add more motifs and develop this into a repeat pattern design.
I found the other, cheaper, wavier pasties hard to work with but really enjoyed working with the medium. For the study I experimented with Mungyo pasties, which were much more effective in creating a softer, more refined look.
I took the motif and digitalised it, experimenting with composition and colourways while adjusting opacity and layering. I feel this effectively created a strong sense of depth in the piece.
I wanted to explore how the previous design might translate as a screen print, so I began by blocking in the shapes with colour to visualise the outcome. This process really helped me consider the relationship between positive and negative space, which plays a crucial role in screen printing. Balancing the two not only enhances the visual impact but also introduces definition in the print.
