‘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.

Worthing Tab by Phil Maltz

Worthing Tab by Phil Maltz

Phil Maltz, AKA Maltz Creative, is a London based self-taught artist. Working in mainly pens, pencils and watercolours, Phil makes precisely detailed sketches of urban architecture of which we’re very impressed by his capture of texture. Read what he has to say below..

Beigel Bake Brick Lane by Phil Maltz

Beigel Bake Brick Lane by Phil Maltz

Point101: What drew you to illustration? 

Phil M:  I've always liked sketching since a child, and growing up I had a grandmother who has painted her whole life, so I've been exposed to a lot of paint fumes. But it wasn't until last summer that I really started exploring my artistic abilities, fuelled by starting an artist account on Instagram.

P101: How has social media impacted your creative workflow?

PM: Creating content which predominantly is aimed at an online audience means it forces me to keep the creative flow going. Social media followers are hungry for fresh content, so I use this to push myself to explore and create things that I think my audience will like. It gives me a real motivation to put Netlix on pause and pick up a pen or paint brush.

P101:  Your focus is mainly on homes/buildings, why is that so?

PM: I've always been interested in architecture and how many parts work together to create a unified form. Also, buildings are much easier to draw than people! I enjoy recreating textures, both organic and man made, and working on small detail.

P101:  What is your working technique?

PM:  I try and keep my process as traditional as possible. I stare at screens all day in my job, so I'm keen to escape from the digital world. In terms of my process, I usually spot a building, take a photo for reference, and create a pen sketch followed by watercolour paint.  

P101: How  have you developed and perfected your very meticulous technique?

PM:  Well, I think it's through sheer determination to create work that stands out, which means going the extra mile with the detail, like in my Bow Road sketch. However I do still value artwork created in a looser, simplistic style. But it always very satisfying when I work on some tiny detail for a long period and then step back and see that it was worth the hand spasms!

P101: Where do you see your work belonging? 

PM: Apart from posting work online, and in my parent's house, I don't really spend much time thinking about the wider appeal of my work beyond the Instagram 'likes'. It always blows my mind when someone actually purchases one of my sketches.

Bow Road House by Phil Maltz

Bow Road House by Phil Maltz

P101:  How long does each drawing take?

PM: It ranges from a couple of hours to a few days. I don't usually work on something continuously, as I don't have time with family and worl life. So I make the most of my lunch breaks and weekends.

P101: What giclee paper do you think works best with your prints? 

PM: I love the subtle texture and thickness of Hahnemuehle Photo Rag, it doesn't distract too much from the artwork and gives a physical feel of the original work.

P101: What do you do outside your illustrating? 

PM: I'm currently working as a full time cameraman and video editor in London, as well as a father of two young boys. I also like growing vegetables.

P101: What interests and hobbies which influence or inspire you? 

PM: I work quite close to the Tate Britain in London, which is a free-entry gallery showcasing the best of British art. It was trips her over the summer months that kickstarted my creative journey. In particular the many graphite, as well as watercolour, sketches produced by JWM Turner. More modern influences include the likes of Phil Dean (@shoreditchsketcher) and James Oses (@jamesoses).

See more of Phil’s work here.

AuthorNazy Raouf


An interview with Lucy Brown

Lucy is a London based illustration artist and designer. Her beautifully detailed drawings on paper and vellum combined make these otherworldly scenes appear all the more ephemeral. Although traditional in style and technique, these imaginative creations succeed in poetically evoking and enchanting our sensitivity to this fine art.

'“Together her exploration of animals and humans is an attempt at understanding the complexities between the natural world and human nature.”

Point101: How did you become interested in illustrating?

Lucy Brown:  I have always been interested in drawing people since I was a little girl, which developed into my career in costume design. There’s a curiosity I have towards understanding what’s beyond the surface of a person - pain, joy, intrigue, love, playfulness? Then exploring these ideas through drawing animals came later as I started to feel more connected with nature and the environment we share. I’m beginning to carve out a space to express my creativity through illustration, and trying to replace my sense of imposter-syndrome with an authentic delight for what I do.

P101: Why the material preferences? 

LB: I used to exclusively paint in watercolour (which I still enjoy), but then Dura-lar was a great discovery for me. The way the matte film takes the coloured pencil enables a more delicate approach to drawing which I think adds to the whimsy of the storytelling. I would like to make use of the milky transparency of the material and begin experimenting with layering the film sheets.

Media print is definitely something of interest to me.

P101: Tell us about your technique  

LB: I like walking along the river by my apartment, spending time with my sister’s dogs, Dolly and Violet. There’s a therapeutic element to being around nature and animals which opens my mind to make space for ideas to come forward. Then I take this inspiration, along with a cup of coffee, and develop the ideas through simple sketches and colour stories. Once I have the basic layout and composition in place I focus in on the details. Having come from a design background I have developed quite a solid process of working through ideas and trying to be consistent. However, I do like to let my work evolve in a way that feels organic and natural. I’m working on trying to leave some of the detail out, to make room for the work to breath a little.

P101: How long does each illustration typically take?

LB:  On average, a piece would take anywhere between 20-40 hours, but it depends on what time I have available. Sometimes a tight deadline can produce the most uninhibited work. It leaves you less time for self doubt.

P101: Where do the narratives to your drawings come from?

LB:  I like to reminisce and day dream…..I’m a classic Pisces. Nostalgia is often gently weaved throughout my work, with a devotion to compassion. I like each piece to be it’s own little world, a place where I can explore dreams and stories. I’m inspired by Vermeer’s magnetic use of colour and light. I enjoy listening to one of my favourite bands, Fleet Foxes, whilst I draw. Their music is so beautiful and their storytelling through word and melody is haunting and romantic. My quest is to capture that on paper somehow…haha! I’m always drawn to films and plays where it’s about what’s not said as much as what is said. I like leaving a little space for the audience to breath their own voice into the artwork. However, the other side of me sometimes just wants to draw something silly and a little humorous, with colour and vitality. 

P101: Are you strictly a solo artist?

LB: I usually work alone, however I’ve worked in theatre for many years so I know the triumphs which come from collaborating with fellow artists. I’m always open to the possibilities of such creative adventures as well as pushing myself further with my work.

P101: Where do you envision your artwork belonging?

LB: I would love to exhibit in a gallery, that’s a dream of mine to create a series for exhibition. Currently, I’ve been creating for personal prints. However, collaborating with an author for illustrative book work would also be a delight. I really just love drawing and working and seeing how it evolves.

P101: What type of paper do you think works best with your printed artwork?

LB: I love the Hahnemuhle Photorag because of its texture and beautiful print quality. Lovely Pauline at Print 101 recommended it to me.

P101: How does this artistic pursuit fit in with your day to day life?

LB: My day to day life is drawing, walking my sister’s dogs, then designing (I still work as a Costume Designer, which I love). I try to commit to drawing a little each day, to be curious and inspired by my surroundings. If I wait for a lightening bolt to strike then I would never work.

P101: Do you have any other interests/hobbies that influence/inspire you? 

LB: Does singing along to musicals (badly) and watching Miss Marple count as an interesting hobby? I really just love the simplicity of reading a book and drinking tea, with cake of course! Oh and I love Arthur Miller, reading his plays are always a source of inspiration for character study.

See more of Lucy’s work here.