Repetition, Colour and Small Worlds

Over the past few weeks, I’ve continued working on my 100 Days of Play project — a daily painting practice that has gradually become something more considered.

What began as a way to loosen up and explore has started to take shape as a body of work, rooted in botanical observation, repetition, and decorative form.

Alongside this, the shift into spring has been impossible to ignore. I’ve been spending more time in the garden, clearing beds, noticing what’s returning, and preparing for the season ahead.

It feels quietly connected to the work. The same sense of anticipation, of things emerging slowly, and not all at once.

Working in small formats has encouraged a different kind of attention. Each piece is contained, but together they begin to speak to one another, colours shifting, shapes repeating, small decisions carrying forward into the next painting.

I’ve found myself returning to the same flowers, primroses, auriculas, pansies. Not to replicate them, but to understand them more fully. With each version, something settles.

 

Flowers in Vessels

Alongside these smaller studies, I’ve also begun to explore the work at a slightly larger scale.

These pieces feel different, a little more considered, but still rooted in the same language that is emerging through the daily practice.

I’ve been particularly drawn to the idea of flowers in vessels, something contained, held, and composed. They feel closer to finished pieces, though still part of the same process of exploration. There is something timeless about the blue and white and I am enjoying the neutrality of it paired with the bold backgrounds, colourful florals and patterned borders. The vessels themselves feel like a natural place to hold a sense of history, a surface onto which stories, references, and influences can quietly sit. It’s something I feel increasingly drawn to, and would like to continue exploring.

 

Beyond the Frame

I’ve also started to play with the idea of pattern extending beyond the central image, building a surrounding world rather than a single framed moment.

It’s something I’d like to continue developing, allowing the smaller paintings to expand outward into something more immersive and decorative.

With the arrival of the Easter holidays, the days have taken on a slightly different rhythm, and I’ve found myself moving a little more slowly through the project.

I’m now just over a third of the way through, around Day 35, and beginning to notice a quiet shift in direction. The work feels more connected, more assured, as small ideas start to carry forward from one piece to the next. I’m continuing to follow where it leads.

Recent pansy posies have been a particular favourite, small, but full of character, their bright little faces take me back to my childhood and are a reminder of how much can be discovered within a single subject.

The 100 Day Project - Two Weeks In

100 days of play: what I’m learning so far

A couple of weeks ago, I began what I’ve been calling ‘100 days of play’, my version of the 100-day project.

Already, just two weeks in, several unexpected things have begun to unfold. Read on to discover how this simple daily practice has been quietly reshaping the way I paint.

When I started, my intention was simply to return to a daily creative rhythm. In the past, I’ve attempted the project but set my expectations far too high, and inevitably drifted away when I could’t keep up.

This year I decided to approach it differently: smaller, gentler, and without the pressure to produce anything perfect.

Now, just over two weeks in, I’m beginning to notice some surprising things happening.

Rebuilding the painting muscle

Having had quite a break from regular painting, one of the first things I noticed was how I’d forgotten how much concentration it requires. It’s a kind of focused quiet - the sort where you sit down intending to paint for half an hour and suddenly realise much more time has passed. Coming back to painting after a break, I realised that my ability to sustain that kind of concentration had dwindled considerably.

Daily painting is gradually rebuilding that muscle. I tend to work with colour quite intuitively, and each piece asks for attention and patience. My colour choices unfold as the painting progresses; it becomes a kind of symbiotic process where the work almost begins to speak back to me. With each passing day, I find it easier to settle into that deeply absorbed state again.

The beauty of repetition

So far, many of the paintings have returned to the same few flowers: snowdrops, primroses, fritillaries, daffodils, and now hellebores. At first, I wondered whether repeating the same subjects might feel limiting, but the opposite has proved true. Each time I paint the same flower again, something shifts slightly in the way I approach it, and it’s really giving me the chance to grow more confident with my chosen paint medium Acryclic Gouache, which I haven’t really used before. The repetition is allowing the work to evolve naturally and makes it feel like a quiet discovery.

Permission to Explore

Another gift of the project has been the freedom it creates. When you commit to one hundred pieces, perfection quickly becomes less important than curiosity. The project almost gives you permission to try things you might otherwise hesitate over, which feels perfect for where I am at right now.

I’m particularly enjoying working with pre-painted grounds on my papers, which gently push me towards colour combinations I wouldn’t normally choose, or might even actively avoid. Some paintings work better than others, of course, but each one seems to move the work forward in some small way.

watching the work emerge

When I looked at the first selection pieces together, I noticed clear patterns beginning to form.

Certain colour palettes seem to return again and again. The decorative borders I’ve been playing with have gradually evolved into a visual language of their own, and the flowers themselves are becoming slightly more stylised with each new painting.

It’s been a fascinating process to observe. Rather than creating isolated paintings, it feels more like building a small world, one piece at a time.

Continuing the Journey

The hedgerows and my cottage garden are only just beginning to wake up here in Devon, and every week seems to bring a new flower to paint. I’m curious to see how the series will evolve as the season unfolds.

For now, I’m simply enjoying the daily ritual: sitting down at my desk, mixing colours, and letting the next small painting take shape.

If you’d like to follow along, I’m sharing each piece daily over on Instagram as the project continues.

Follow the Project on Instagram

Building a New Body of Work

At last, spring is beginning to take shape. After what has felt like endless rain here in the South West, the shift in light and air has landed for me as quite a relief.

January and February have always felt reflective to me - slower, softer months that invite a different rhythm. I naturally retreat a little during this time; it’s somehow comforting to spend cosier days in the studio, with my sketchbook open, and paints laid out.

After a very busy festive season exhibiting at Dartington, Rural Living and Ashley Court, I realised that what I needed most this year was depth rather than pace. For the foreseeable future, I’m focusing more intentionally on building a cohesive body of original work.

I am so grateful for all the support I received over the festive season. It was full of wonderful conversations, beautiful venues, and the privilege of seeing my work find new homes. But as the new year arrived, I felt a strong pull back to the studio.

The winter months have given me space to return to the foundations of my practice: pencil sketches, hand-painted studies, and the quiet discipline of observation. Slowing down has allowed me to notice the small things again - and to reconsider where I want to place my focus in the months ahead.

Introducing the 100-day project with 100 days of play

This week, I’ve also begun the 100 Day Project, which I’ve decided to title ‘100 Days of Play’.

I’ve attempted the project in the past, but have always been overly ambitious about what I hoped to create. When I couldn’t keep up, I somehow moved away from it. So this year, determined to see it through, I’m taking a gentler approach.

Rather than piling on pressure, I’m allowing it to be intuitive and exploratory. Some days that means developing folk-inspired motifs and symbolic hearts; on others, it’s small botanical studies inspired by hedgerow finds and seasonal blooms - primroses, snowdrops, and early signs of spring. And, occasionally, it’s simply intended to be experimental for the sake of my own curiosity.

Working small has been unexpectedly grounding. There is something powerful in repetition - in returning to similar forms and allowing them to evolve slowly. So far, I’ve been working mostly in acrylics, which is slightly outside my comfort zone, but it’s felt surprisingly liberating to try something different without needing to fixate on the outcome.

You can follow along by joining me over on Instagram or if you want to take part yourself it’s not too late to begin and it’s entirely up to you what you choose to create for the 100 days.

Join in with the 100 day project

narrative & direction

Alongside this, I’ve been deepening my interest in folklore, botanical symbolism, and heritage decorative arts. Increasingly, I’m weaving narrative into my work - particularly exploring symbolic forms and the quiet strength of inspirational, intriguing, or forgotten women in history.

These threads are beginning to sit alongside one another in a way that feels more cohesive and intentional.

Super Seconds Festival

As I focus on building this new body of work, I’ll also be taking part in the upcoming Super Seconds Festival - offering a small selection of studio samples and end-of-line pieces at reduced prices. It feels like a natural moment to gently clear space, both physically and creatively, for what is emerging next.

The festival runs from the 7th-8th March, and during that time a limited number of pieces will be available at up to 35% off.

Shop Super Seconds Festival

2026 - a shift in focus

While I’m considering a handful of curated events later in the year, my priority is building a cohesive collection of original pieces that feel truly representative of where my practice is heading.

For now, I’m content to remain close to the studio, gathering inspiration from hedgerows and allowing the work to unfold at its own pace. It feels deeply aligned with where my energy is flowing right now.

I’m excited to see what this year will bring, and I look forward to sharing the journey as it unfolds.

🌿 Studio Notes: Autumn into Winter at The Illustrarium

I can hardly believe that here we are in the middle of November - and somehow autumn has completely passed me by. 🍁 Between preparing for festive markets, building my new shop on The British Craft House, and keeping up with all the day-to-day parts of running a creative business, the weeks have just disappeared. I always imagine autumn as a time to slow down, paint, and savour the changing light - but this year it’s been all lists, packaging, and planning instead! Still, it’s been a season full of new beginnings and lovely momentum for The Illustrarium, and I’m so excited to share a little update on what’s been happening behind the scenes.

 
Cosy studio desk with illustrated stationery orders being wrapped and packaged in eco-friendly materials.

Packaging with Care

Every parcel is carefully wrapped in eco-friendly materials before it leaves my studio - it’s like sending a little piece of joy out into the world.

 

✨ A New Home on The British Craft House

One of the most exciting things to happen this season has been opening my shop on The British Craft House. It’s been such a joy to join their community of British makers and to have a space that feels perfectly suited to The Illustrarium - warm, artisanal, and dedicated to handmade quality.

My shop there brings together many of my illustrated designs, from stationery and bookmarks to prints and homeware, all created with care and eco-friendly materials. I’m adding new pieces each week, and it already feels like a lovely creative home for my work.

 
Flat-lay of Regency-inspired illustrated stationery and art prints in soft pinks and greens.

New Designs & Collections

I’ve been adding to my range of products - in the next few weeks, you should be able to find the same design across multiple items in my shop.

🪶 New Designs on the Way

Behind the scenes, I’ve been working on lots of fresh ideas and product updates.
New illustrated bookmarks are coming soon, each printed on 350gsm FSC-certified recycled card, double-sided, and finished with a choice of tassel colours. I’ve also designed new notebooks and greeting cards, which are currently in production - I can’t wait to share them once they arrive!

Shop A5 Notepads

In the meantime, my A5 notepads and illustrated magnets are now available both on TBCH and in my Etsy shop. They make lovely, affordable gifts or thoughtful stocking fillers - perfect for this time of year.

Shop Illustrated Magnets
 
Illustrated bookmarks being unpacked on a desk, with colourful tassels beside them.

New Bookmarks

My latest bookmark designs as always, are printed on recycled card and finished with tassels in coordinating colours - perfect for gifting or keeping.

Shop Bookmarks
 

🎄 Markets & Meeting Customers

The past few months have been full of real-world connections too. In September, I took part in the John Lewis Exeter Pop-Up - such a wonderful experience that I’ll always treasure. It was my first time setting up a display in a large retail space, and I learnt so much in the process. Preparing for it made me think more deeply about how I present my work - from choosing cohesive colour palettes and fabrics to designing layouts that tell a story.

One of my favourite parts was seeing everything come together on the day - framed art, cushions, cards, and textiles all side by side. It felt like a little snapshot of The Illustrarium brought to life. Meeting customers face-to-face was also incredibly special; hearing which pieces resonated most reminded me how meaningful handmade art can be when it connects with someone personally.

I came away feeling inspired and full of ideas for future displays and collections - and with a fresh appreciation for all the tiny details that make a stall or pop-up feel inviting. 🌿

Susie Batsford of The Illustrarium at her John Lewis Exeter pop-up, holding one of her hand-painted floral cushions beside her display of illustrated stationery and art prints.

A Special Experience

My John Lewis Exeter Pop-Up was such a lovely milestone - I learnt so much about display and loved meeting customers face to face.

 

Now I’m turning my attention to the festive season, with a lovely line-up of events ahead:

  • Rural Living Show, Taunton – 22–23 November

  • Blundells Prep Christmas Market, Tiverton – 29 November

  • Dartington Christmas Fair – 5–7 December

  • Ashley Court Christmas Market – 13–14 December

If you’re local, I’d love to see you at one of these markets - it’s always so special meeting people who’ve followed my work online and seeing their reactions in person.

Graphic showing The Illustrarium’s Christmas Market dates and locations for winter 2025, including Rural Living Show, Blundell’s Prep Market, Dartington Christmas Fair, and Ashley Court Victorian Christmas Fayre.

Festive Events

I’ll be out and about across Devon and Somerset this winter - here’s where you can find me and my work in person.

 

🖌 Behind the Scenes & Looking Ahead

With all these new developments, I haven’t had much time to sit and paint lately - and I’ve really missed that part of my creative rhythm. My goal for the New Year is to carve out time for new artwork and to launch an online sale of original pieces in early 2026.

I’m also delighted to now have a selection of my fine-art prints available through Artfully Walls, a platform dedicated to curated art prints from independent artists. It’s beautifully curated and ships internationally. At the moment, I’m not personally posting orders to the USA, though I’m hoping to change that soon. In the meantime, if you’re based in the US, you can find two of my prints available to purchase directly via Artfully Walls. And when I have a little more time in the New Year, I’m planning to submit a few more of my prints to their collection. 🌿

Shop Artfully Walls
 
Hand-painted artwork in progress showing a blue and yellow bird among pink roses, with brushes and a paint palette nearby, by Susie Batsford of The Illustrarium

Work in Progress

My brushes have taken a little rest lately, but I’m looking forward to returning to this piece - one of many pieces I’ve been working on.

🖌 Secret Sale Collectors List

Lately, my brushes have had to take a little rest while I focus on markets and orders - but my sketchbooks are full of ideas waiting patiently for January. This Blue Tit & Wild Roses painting is one of them, and I’m looking forward to picking it back up when studio time becomes calm again.

I’m also planning a little Secret Studio Sale in the New Year - a quiet online event where subscribers will have early access to a few of my original paintings and studio treasures. Sign up below if you’d like to be one of the first to know when this goes live.

Join the Secret Sale Collectors List
 

💌 The Smallest Details

Sometimes it’s the simplest gestures that mean the most. I recently shared a little video of myself handwriting messages inside my greeting cards - something I offer as an optional service when customers purchase a card. It’s one of my favourite parts of what I do, and I love knowing that my handwriting can help send a thoughtful note to someone special.

Flat-lay of a handwritten illustrated greeting card with envelopes and decorative paper on a wooden surface.

A Personal Touch

I absolutely love handwriting messages inside my cards - it’s one of my favourite ways to make each order feel special.

shop cards
 

🌸 A Gentle Close

As we move from autumn into winter, I’m reminded that creativity often grows quietly behind the scenes - even during busy seasons. I’m so grateful for everyone who continues to follow my journey, whether through Etsy, The British Craft House, or in person at the markets.

Thank you for supporting handmade and for helping small businesses like mine thrive.
Here’s to a cosy, creative winter ahead.

✨ Susie x
The Illustrarium

Visit My British Craft House Shop
Visit The Illustrarium on Etsy
View My Work on Artfully Walls