‘Tangram Slice I’ by Diane Bresson

‘Tangram Slice I’ by Diane Bresson

Diane Bresson is a London based textile designer specialising in Print. Her art explores how the relationship between craft and technology can create playful and dynamic patterns. Read on to learn more about her practice!

Tell us about your background in textiles

I loved studying textile design. We were really encouraged to experiment and were focusing on the process rather than the final product. Even though I specialised in print, studying knit and weave was also very beneficial, especially to learn about different materials and fibres.

How are your designs made?

I get my inspiration from various fields but I am mainly intrigued by how elemental shapes can be built into more complex compositions. For my series of limited edition prints I took inspiration from the Tangram puzzle which was studied in more depth by Martin Gardner. During 25 years he wrote a column called ‘Mathematical Games’ in the Scientific American that explored the construction of puzzles, patterns and optical illusions: an infinite source of inspiration for me!

How important is colour to your work?

Colour is essential to my work. I first started printing with a few colours and then played around by mixing printed artworks with digital and projection. I recorded new combinations of colours and gradients with photos and videos that I then translated back into screen printing, in order to build shapes and colours together.

What is your working technique?

For my series of prints I first started exploring combinations of shapes in smaller scale but quickly moved on directly to screen printing. I combined lines and dots with solid colours to make them interact with each other. I prefer printing without a precise plan and improvise along the way with stencils and patterns. Many things that I thought were mistakes ended up creating interesting visual effects. The outcome was two ten meters long rolls that were then scanned and divided into separate prints.

Can you elaborate on the digital aspect to your working process?

After the rolls were scanned I touched up a few things on Photoshop. Most of the little defaults that are barely noticeable on a 10 meters roll appear very obvious on a high resolution crop of it. However I made sure not completely erase every imperfection and keep a crafty feel.

Where do you see your work belonging?

I think it is quite versatile and so far it has been for all of the three mentioned above. Exhibition are always a great way to put together a body of work as well as showcasing new and/or bigger pieces. It is as well very gratifying to know people have my prints hung up in their home! I also had to opportunity to have one of my wallpaper panel featured in Elle Decoration Netherlands in which it was beautifully put together with other designers’ pieces for a photoshoot. It was an amazing opportunity to see how my work can interact with its environment, and the result was stunning.

What is the intent behind your distinctive style?

I’ve always liked Op Art and deceptive visuals that makes you look twice at something and makes you wonder how it is constructed, like M.C. Escher’s and Vasarely’s work for instance. The scale is also important, I want people to be able to immerse in the colours, especially in my bigger wallpaper pieces. 

What giclee paper do you think works best with your prints?

For my series of limited editions giclee prints I settled on the Hahnemuhle Photo Rag. I wanted something slightly textured to contrast with the sharp geometric shapes.

Tell us about your life outside of your designing

I have been working part-time in a wallpaper studio since university and it really pushed me to work on a bigger scale. It also allowed me to attend several trade shows and discover many amazing designers and products.

What interests and hobbies which influence or inspire you?

My main interests and hobbies revolve around art, design and print to be honest but when I am not working on some geometric patterns I like painting more traditional portraits as well, mostly friends and family. I like graphic novels and comics as well, recently I was stunned visually by Michael DeForge’s Dressing. 

Do you have any upcoming shows or publications?

I took part in the Cluster Craft group show recently which is now unfortunately over. It gave me the opportunity to work on projections of animated patterns in addition to my prints and wallpaper panels, and it is for sure something I want to continue to develop.

I am also published in the newest issue of Fused Magazine in their column about recent graduates.

Check out Diane’s website or Instagram.

point101 hahnemuhle giclee print

Interview with Ryadraws

Ryadraws is a London based digital artist, currently exhibiting at Rivington Studios as part of The Anti Trump Art Show. 


Tell us about your upcoming exhibition as part of Creative Debuts Anti Trump art show

The exhibition will focus on our depictions of America’s celebrity in chief, Trump!  

There was an open call put out a couple of months ago, and I was one of the artists selected to exhibit on the 12th of July.


How strongly do you feel about social art as a young practicing artist?

Day by day we are continually being presented with distractions, and we forget what is going on around us. The issues that deserve our attention. Social art is a way for us to be informed by pretty pictures.


Where do you envision your work belonging? 

Magazines but mainly in galleries. We have gotten to a point where digital art is becoming more widely accepted and galleries treat digital art like you would any traditional painting.


How would you describe your techniques?

I replicate my traditional drawing process but in a digital space. Most of my work will start off with a pencil sketch on paper, and then I will scan the image in and render digitally.

I layer my images metaphorically, and bury meaning within to be discovered, and when possible add an Adrinka symbol if it matches the artwork.

The Adrinka’s are Ghanaian symbols of the Ashanti that represent thoughts and I use them in my work to further explain my ideas.  


Would you call yourself more of a traditional artist?

No, a lot of my work is digital, and there is no physical output until printed. Digital art has made my process more straightforward, I don’t have to think about being extra careful while drawing to make sure I don’t smudge the page etc.

Painting and sculptures are on my radar to explore, and I do write from time to time - I doubt I will ever share them though.


point101 hahnemuhle giclee print

What type of paper do you think works best with your printed artwork?

Hahnemuhle German Etching is literally the only thing I print on and gives me the desired visual. I can’t get enough of the grain and paper texture.


When you aren’t producing art, what do you like to do?

Sleeping, watching TV shows and I play games from time to time. I’m currently playing Zelda: Breathe of the wild. I set myself a project often just so I don’t get burnt out from drawing. At the moment, I’m teaching myself UI/UX and animation.

The usual stuff, reading and hanging out with friends.


Is there anything that particularly influences your projects or inspires you? 

Everything around me. Unfortunately, a lot of what fuels my practise tends to be the negatives. I’ll flip it and show my outlook on the topic.


Any more exciting projects on the horizon?

I will be illustrating a children’s book focusing on Ghanaian lore. Also on the horizon is a billboard illustration which will be a painting focusing on social commentary. I have a few ideas floating around on what I’m going to paint.



Ryadraws and The Anti Trump Art Show

The Anti Trump Art Show promotion with Ryadraws' artwork

The Anti Trump Art Show promotion with Ryadraws' artwork


"In response to Donald’s Trump’s planned visit to London on 13th July, Creative Debuts have joined forces with over 50 artists to show their collective disdain of the, ‘dangerous racism, sexism and narcissism that flow daily from the White House,’ through a unique art exhibition.
The exhibition celebrates a specially curated range of contemporary artwork including photography, sculpture, craft, fine art, and film whilst raising money for End Violence Against Women"-Creative Debuts 2018

See more of Ryadraws' work here.

Check out Creative Debuts.


Old men dragon faces appearing in the carved doorways of a pagoda, the colossal Gautama Buddha presiding lordily over his empty surroundings, unpopulated streets and landscapes that seem to shimmer with their smudge-texture pencil-like surfaces.

Pugahm Myo: Carved Doorway in Courtyard of Shwe Zeegong Pagoda. August 20-24 or October 23, 1855. Linnaeus Tripe

Pugahm Myo: Carved Doorway in Courtyard of Shwe Zeegong Pagoda. August 20-24 or October 23, 1855. Linnaeus Tripe

British photographer Captain Linnaeus Tripe (1822-1902) joined the East India Company in 1838 as a cadet for the Madras Infantry and very soon progressed to the level of Lieutenant, joining his own regiment in South India. It was not, however, until an extended leave (due to illness) in England between 1851-1854 that he began to experiment with photography. He returned to India with his camera and began to make images of the previously un-photographed temples and structures he saw around him and, later on, scenes he encountered in Burma. He would go on to be commissioned by the Madras government to act as official photographer for Madras, capturing sculpture, street scenes, religious and spiritual sights, inscriptions and architecture.

Amerapoora Colossal Statue of Gautama Close to the North End of the Wooden Bridge. September 1 – October 21, 1855. Linnaeus Tripe

Amerapoora Colossal Statue of Gautama Close to the North End of the Wooden Bridge. September 1 – October 21, 1855. Linnaeus Tripe

To celebrate the 25th anniversary of the V&A’s Nehru Gallery which exhibits a range of objects and artefacts from their South Asian art collection and also the V&A’s autumn India Festival – the museum celebrates the prolific output of Tripe through some of his earliest images of India and Burma. The 60 images on display not only showcase the countries as subject but also give us an insight into the particular photographic working methods employed by Tripe at the time. 

Royacottah: View from the Top of the Hill, Looking North-Northwest and by North. December 1857 - January 1858. Linnaeus Tripe

Royacottah: View from the Top of the Hill, Looking North-Northwest and by North. December 1857 - January 1858. Linnaeus Tripe

Pugahm Myo: Thapinyu Pagoda. August 20-24, 1855. Linnaeus Tripe

Pugahm Myo: Thapinyu Pagoda. August 20-24, 1855. Linnaeus Tripe

Tripe used calotype, a waxed paper negative, rather than the traditional glass plate negatives used by his peers back in Europe. This seems to be as much a practical decision as an aesthetic one as waxed paper negatives, although not ideal in a hot tropical environment, could be easily transported without fear of too much damage or breakage - essential for a travelling photographer. The use of paper also resulted in a distinct soft-focus look to Tripe’s images as the fibres of the paper negative transferred onto the paper print. Although he did make prints with glass negatives on occasion and these were generally favoured due to the clean sharpness that was expected from standard documentary photography – the very slight textured blur of the paper negatives give the images a painterly quality that seems to radiate the heat of the streets, the humidity of the air and the atmosphere of a romantic Eastern world changing rapidly – the ancient recorded as its faces the ongoing modernity.

Captain Linnaeus Tripe: photographer of India and Burma (1852-1860) runs at the V&A until 11 October. There are lots of good resources and info available about the exhibition online including more detail into Tripe’s working methods, extensive biography and a reading list if you want to find out more.


AuthorSacha Waldron