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 browse the collection and pattern index, or download the complete Library (PDF).
- 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.
- Garden (12 designs)
- Flowers by the handful rather than one at a time. A vocabulary of parts — petal flower, daisy, bell, bud, sprig, veined leaf, berry — scattered until the ground is nearly covered, drawn from six palette colours. Meadow is the dense ditsy, Bloom states larger flowers over it, Garland runs them along stems. It wants a coloured ground, not white.
- Folk Garden (6 designs)
- One design, six colourways. Outlined blooms, star flowers, buds and daisies crowded over wandering stems, every motif drawn with its own line and interior marks. It carries its own ground, so these are fixed colourways rather than a pattern you recolour — pick the one that suits the room.
- Foliage (5 designs)
- Photographs, not drawings. Each is put through a periodic decomposition so it repeats exactly — no mirroring, no blended seam, no cloned patches. Repeat size is limited by the source: the recommended figure on each design is the largest it will hold at 150 dpi. Beyond that, print coarser or shoot larger.
- 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.
- Flowers (12 designs)
- Full-color florals with saturation deliberately left in. Field is scattered and loose, Bouquet is large blooms at close range, Trail is stem and garland. Multi-hue like Watercolors, so a single palette change takes the whole collection from primary brights to jewel tones.
- 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.
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