The InkSonics® collections
Every InkSonics® design is a true seamless repeat, printed to order on Type II wallcovering, residential wallcovering and fabric-wrapped panels. Turn on JavaScript to browse the patterns, or see the collection and pattern index.
- Nature's Geometry (20 designs)
- Natural structure reduced to line and repeat. Cellular comes from packing and growth, flow from water, wind and sediment, botanical from stem, leaf and frond. Tight enough to specify, open enough to carry a full elevation.
- Nature's Hand (11 designs)
- The same source material left irregular. Nothing here sits on a grid — leaves fall where they fall, veins branch where the stone gave way. Every design is still a true seamless repeat, but the eye reads it as texture rather than pattern.
- Nature's Form (13 designs)
- Biomorphic. Not nature abstracted and not nature observed, but the shapes life actually makes — the packed cell, the strut that carries load, the tissue that folds, the thing that divides and grows. Continuous curves, no straight line anywhere, and the same seamless repeat underneath.
- Hand Block (15 designs)
- Geometry drawn by hand rather than by machine. Every line carries a wobble, every painted edge is slightly uneven, and the motifs are deliberately simple and large — check, arch, scallop, herringbone, dash. Where Nature's Geometry is a drafted line, this is a loaded brush following a straight edge, and it is the register most residential and hospitality work asks for.
- Woodgrains (15 designs)
- Timber figure, drawn the way a millworker would name it. Cut is what the saw decides — plainsawn flame, quartersawn ray fleck, rift, burl, end grain. Character is what the tree decides — open pore, fine grain, ribbon stripe, knots, weathering. Layup is what you decide — plank, herringbone, chevron, parquet, shiplap. The grain runs on a continuous field rather than random lines, so it reads as one piece of timber rather than a drawing of one.
- Grove (11 designs)
- Forest at architectural scale, drawn to a three-drop match. One repeat is three 52 in drops wide and one 10 ft drop long — 156 × 120 in — so the design crosses the joins instead of stopping at them, and no two drops in a set are interchangeable. Silhouette is flat tonal planes receding, Botanical is drawn leaf and frond, Atmosphere is mist and light, Cut Paper is hard-edged shape. The repeat is fixed; every tonal layer takes its own color.
- Atmosphere (12 designs)
- Depth rather than drawing. Each design is built from tonal fields, soft gradation and layered noise, so it reads as air and distance instead of line — and still repeats seamlessly at any size. Mist is weather, Canopy is foliage at three depths, Horizon is land and sky. They take their range from the pattern and ground colours, so a single hue gives you a full tonal scale.
- Modular (12 designs)
- A tile grammar rather than a drawing. Every cell holds one move — a quarter disc, an arc, a lens, a ring — and the composition is the order they fall in. It tiles by construction, so the repeat is exact at any scale, and it takes flat colour better than anything else in the library: two tones for a Bauhaus register, or pick a palette and the whole grid recolours.
- Optic (12 designs)
- Line doing the work of tone. Fan is a stripe bundle turned on a corner, Weave is a Truchet field where every tile meets its neighbour on the same points, Field is nested and converging line. Read close it is drawing; read across a room it is shade, and the density shifts as you move. Two tones carry it best.
- Mirror (12 designs)
- One accident, doubled. A mass of ink is drawn once and then reflected or turned about a point, which is what makes something irregular read as deliberate. Blot is a single fold, Kaleidoscope turns it four, six or eight ways, Facet breaks it into planes. The motif is drawn to sit inside its own cell, so an irregular form still tiles exactly.
- Tribal (12 designs)
- Cut, not drawn. Every mark is built as a band whose width and edge wander, so corners overshoot and lines thicken where a blade would have pressed. Nest is the concentric figure, Mark is the single stroke repeated, Band is strip weave. It wants high contrast — a dark ground with a light ink reads closest to the cloth it comes from.
- Contour (12 designs)
- Iso-lines of a landscape that does not exist. The field behind these is built so that it wraps exactly, which means the contours close around the tile rather than being cut at it — a line leaving one edge arrives at the other at the same height. Contour is survey weight, Band is the heavy sweep, Relief works two weights against each other. Large is where it belongs.
- Large Format (12 designs)
- Designed for a 24-inch repeat rather than scaled up to one. Each tile carries four to six times the incident of a standard pattern, so the design resolves at room distance instead of turning coarse. Medallion is a centred motif on a field, Botanical is stem and bloom at architectural scale, Stone is slab figure. Selecting one sets the repeat to its recommended size.
- Watercolors (12 designs)
- Wet pigment, bright and translucent. Every design draws from a multi-hue palette rather than the two-tone ink and ground, so colors overlap and mix on the page the way they do on wet paper. Bloom is pigment spreading, Wash is flooded color, Splash is what lands when the brush is loaded. Pick a palette above — the whole collection reharmonises.
- Built Environment (15 designs)
- The made world rather than the grown one. Facade patterns come from the elevation — mullion, louvre, opening, screen. Structure from what holds it up. Skyline from the city read at a distance, in silhouette or in plan. Orthogonal where the others are organic, and the natural pairing when a project needs both.
- Classical (15 designs)
- 1400 to 1870. Five movements in sequence — Renaissance order and inlay, Baroque weight and movement, Rococo lightness, Neoclassical restraint, and the Gothic Revival that answered it. Ornament as architects have specified it for six centuries.
- Modern (15 designs)
- 1870 to 1940. Impressionism broke the surface into light, Art Nouveau bent it, Cubism took it apart, Art Deco squared it back up, and Surrealism let it dream. Drawn in each movement's idiom rather than after any particular painting.
- Contemporary (15 designs)
- 1945 onward. Gesture and field, then the eye tricked, the image flattened, the object reduced, and finally the whole argument sent up. The most graphic of the collections and the ones that carry furthest across a large room.
- Painterly (19 designs)
- Built the way a painting is built rather than the way a pattern is: mass before line, tiles four times larger so the repeat never announces itself, brush shapes with real pressure variation, and marks that cluster and leave voids instead of spacing themselves evenly. Ground is tone alone, Mark is the loaded brush, Dapple is light rather than pigment, and Scumble is what happens when you go back into it.
- Grasscloth (12 designs)
- Natural fibre, drawn rather than photographed. Abaca, jute, raffia and hemp are woven — warp over weft, with the slubs and butt joins the material cannot help having. Reed, arrowroot, bamboo and seagrass run one way only, as stalks laid side by side. Leaf is the wide flat strips of hyacinth and paper weave. Mineral is cork and mica. Real grasscloth has no repeat at all, so these are drawn long and irregular: at the recommended repeat the eye finds the fibre, not the join.
- Plaster (12 designs)
- Applied finishes rather than drawn ones. Trowel is the blade: overlapping passes, each thin where it lifted and loaded where it bit, with the edge of the last pass showing through. Wash is water — limewash settling into bands, tadelakt burnished to a bloom, the salt and oxide that come up through a wall over years. Concrete is what the formwork left behind. Drawn large, because plaster has no repeat of its own: at the recommended repeat a wall reads as one surface, not as a pattern.
- Weave (12 designs)
- Cloth drawn the way cloth is made. Each design is a real weave draft — warp down, weft across, and a rule deciding which is on top at every crossing. Plain is one over one and what you get by doubling it: hopsack, panama, oxford. Twill moves the crossing along by one each row, which is where the diagonal comes from, and steepening it gives gabardine. Fancy is everything that changes the yarn rather than the draft: the long floats of satin, the loops of bouclé, the heavy weft of an ottoman, the raised cell of a piqué. Scale it down and it is a texture; scale it up and you can count the threads.
- Hide (12 designs)
- Leather is read by its relief rather than its colour: a grain is a field of small domes, each lit on top and shadowed beneath, and what tells you which hide you are looking at is how those domes are sized and packed. Grain is the hide as it comes — pebble, full grain, nappa, buffalo. Exotic is the reptile and the bird, where the packing becomes a plate or a quill. Worked is what the tannery and the bench did to it afterwards: the pull of a saddle hide, a stitched seam, a punched brogue, a napped suede.
- Foil (12 designs)
- Drawn for the mylar grounds, and drawn the way foil is actually printed — by covering the metal rather than by drawing on it, so the design is what you DON'T cover. Leaf is applied metal: gilded squares, torn schlagmetal, crazed and worn. Worked is metal that has been hit, brushed, etched or left to oxidise. Printed is ink over foil, where the pattern is a resist and the sheen comes through it. Every design carries the same light-dark-light sheen across the sheet, so a wall shifts as you walk past it.
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