The fuchsia hangs, and that single fact governs the design. The flowers are drawn pendant, heads down, on thin arching stems, and the composition lets them fall in loose vertical runs across the drop rather than arranging them into a formal repeat. The effect is of a plant seen against the light in a still garden late in the day.
The printing is worth noticing. The ink sits on the paper with a slight relief, so the petals and leaves carry a faint tactile edge while the ground keeps a chalky flatness behind them. Because the flowers are described with very few strokes the pattern stays open, with more ground than figure, and a room papered in it does not feel enclosed. The repeat is 64 cm on a 0.52 m roll and the match is straight, so the falling stems align across the seams and read as continuous.
Bedrooms take it well, as do sitting rooms with a good deal of daylight, where the openness of the drawing keeps the walls light. It goes with painted furniture, matting or old boards and plain curtains. Put too much else into the room and the delicacy of the drawing is the first thing to go.
