Surface pattern design is where art meets everyday life, transforming ordinary spaces, objects and materials through colour, illustration and thoughtful visual storytelling. For multidisciplinary artist and surface pattern designer Alisa Burachuk, the journey into this creative field began with a background in fine art before taking an unexpected turn during the COVID-19 pandemic. Based in Haarlem, the Netherlands, Alisa now works with international clients, creating delicate, nature-inspired patterns for wallpaper, textiles and other applications, combining traditional artistic techniques with digital tools.
In this Creativepool interview, Alisa shares how her artistic background and business experience shaped her career, offering an insight into her creative process and the experiences that continue to influence her work. From finding inspiration in European landscapes and botanical details to developing cohesive pattern collections, she discusses the importance of authenticity, creative freedom and building meaningful connections with clients. She also reflects on the influence of AI and technology on the creative industries, the importance of protecting independent artists' work, and the qualities that set exceptional creatives apart.
How did you first get into the industry?
Initially, I started as a fine artist, presenting my work at exhibitions and participating in international art fairs. However, during COVID, like many people, I had to look for other options—options that would still allow me to create art remotely while taking a more practical approach to it.
I realized that everywhere I looked—interiors, apparel, stationary, bedding—was covered with illustrations and patterns that would bring a little something special while still being considered decorative art. So I decided to take a chance and pivot to the surface pattern industry.
Where are you based now and who do you work for?
I’m currently based in Haarlem, the Netherlands, I work with international clients, particularly in the UK and Europe, as well as local businesses and interior designers.
What is your personal background and what role did it play in your career?
As I graduated from a Master’s program in International Business, I spent my first few years working in an office, in the marketing department and at the clients support, learning about business first. But when I decided that I wanted to have something of my own, that’s when art came to the surface.
After spending a few years mastering my art skills with a mentor, renowned Latvian artist Ilgvars Zalans, I realized that I was ready for a solo ride. That’s when my business background came in handy. Knowing your target audience, how to approach it, personal branding, and managing your own finances gave me a stable foundation for my future endeavors.
If you weren’t in your current industry, what would you be doing?
It’s hard to imagine myself doing a non creative job. So visual art is still as important to me as anything else. However, I reckon it could be exiting to work within the creative industry in a role that requires conceptualizing and connecting projects or articles, such as for an for interior design magazine or fashion journal.
Can you explain your creative process? What makes it unique?
When I create a surface pattern collection, I set the tone for the entire project by choosing a story behind it. Particular objects, timeline and even a location play a significant role behind it. Then comes the colour palette, where I stick to 8-12 hues. Being intentional and precise is essential, so I often consult a trusted “dictionary of color combinations” to ensure harmony in the palette. And of course it has to resonate with the theme, to make the body of work cohesive and balanced.
One of the unique parts of my creative process is probably that I always base it on my own experiences—places that I’ve visited, cathedrals and châteaux that I’ve walked through, particular botanical gardens, or flora from the areas I’ve traveled to. Behind every pattern, there are at least a few photos and a sketch. And so far my heart lies within European landscapes.
How would you describe your style?
My style can often be described as delicate, as the fine details and soft color palette bring a touch of elegance. It is almost always nature-themed with botanical elements at the center of my work, and harmonious pastel hues that balance compositions.
My signature style brings together soft colour palettes, botanical detail, vintage nostalgia and contemporary simplicity.
Which individuals do you gain inspiration from? Do you have any heroes in the industry?
I guess it’s a bit cliché, but the work of William Morris could not be appreciated enough. And probably Strawberry Thief is my favorite of his patterns.
I am also deeply in awe of the heritage of botanical illustration by Pierre-Joseph Redouté. And when it comes to modern artists, illustrators, and surface pattern designers, I have to mention the amazing Sarah Gordon, with her vivid color palette and bold artistic language.
What tips would you give to aspiring creatives looking for work?
I guess the easiest way to catch butterflies is to create a garden for them. And I like this aphorism because this is exactly what art and design do. You have to position yourself in a place where you’re comfortable creating your art the way you want to, and where your authenticity resonates throughout your work. Then, you’re naturally going to resonate with people who are attracted to it.
The same goes for pitches, open calls, and cold emails. You have to be wise about whom you approach and whether there is cohesiveness between your style and theirs.
And I guess, never give up. There can be hundreds of nos, but one yes that can lead you to another project. Stay positive about it and enjoy the ride, because the joy is in the journey.
What tips would you give to other professionals to get more clients?
I believe that opportunities are not taken but created. Don’t hesitate to approach people. Don’t worry about someone saying no. Be proactive, reach out to brands, and stay engaged. Think about how you can actually bring so much to the table with your art and design.
And even if bigger projects are not coming your way at the moment, create a project of your own and showcase it as a study. That will add additional value to your portfolio and could potentially resonate with bigger clients.
And of course social media is a big game-changer for many creatives these days. So, don’t hold back and put yourself out there. You never know where it’s going to lead you.
Can you share a memorable experience from your career journey that shaped your approach to creativity?
The best moment that comes to my mind is definitely when I started teaching children art at a local school. It’s amazing to see how playful and open-minded kids are, and how their imagination runs wild on paper. And nothing gives you more permission to mess up than seeing them play.
Ever since I started sketching more in public, without judging myself or my sketches, this amazing sense of freedom got me thinking that creating is playing, and the freer you are with your art, the more honest it is in the end.
What kind of tools/kit/software could you not do without?
My work combines hand-drawn and painted elements with digital techniques to create seamless designs for wallpaper and textiles. I love to work with watercolors, acrylic, and gouache. As for my digital art, I prefer to use Procreate with additional twitching in Adobe programs.
But honestly, I am a huge fan of art supplies, and once in a while, I buy myself new tools to get out of my comfort zone and try something new.
What’s your secret to staying inspired and motivated?
I cannot emphasize enough the fact that inspiration is everywhere. And as a highly sensitive person, I cannot simply walk from A to B without noticing a flower in the grass, someone’s pretty front garden, or the way light touches the leaves.
My motivation comes primarily from my persistent curiosity, which pushes me to observe, collect, and respond to the world as much as I can. And at the end of the day, my work is a result of an urge to see and make sense of the environment around me.
And I guess this is what keeps me going collection after collection, just to see how much more can be done.
What’s the work achievement you’re most proud of?
I guess I’ve hit a few milestones, such as exhibiting in a particular place or working with a certain person. But I believe my best achievements are yet to come. And this is how I stay grounded and focused on the things that can be done, while also patting myself on the shoulder for the little wins.
As someone with experience in the industry, what trends do you foresee shaping the future of creativity?
I guess that with the rise of AI, we’ll be seeing a shift towards hand-painted objects and physical art getting more attention and more value than digital art. The ability to work with conceptualization, creating collections and bodies of work would be key factors of success in the industry.
And, as always, subjectivity in art and design is at the core. So I assume we would all be rooting for more storytelling and real personal experiences from artists that we can relate to as humans.
What do you think sets apart truly exceptional creatives from the rest of the pack?
Vision. As simple as that.
Some people create an illustration, and some people create a legacy. They are not thinking about a particular design or painting. They are thinking about the body of work, the collection that’s going to be presented at the right time, with the right symbolic meanings, and how future collections will resonate with the current ones without repeating themselves.
This long-term vision of how you can create worlds outside of yourself, but through yourself—that is almost wizard-like skill. It’s something exceptional creatives have, and we can all learn from such amazing artists as Andy Warhol, Vivienne Westwood and Laura Ashley.
How do you think technology has influenced the creative industries and how have you adapted to these changes?
I think that with the rise of technology, some companies prefer faster design approaches, which makes sense financially. However, I still believe that brands with heritage and a long-term vision prefer to work with people, and to have this unique artistic point of view that AI art cannot provide.
Now, because of that, as creatives, we have more tasks on our plates, some of which we can partially get done with AI help, such as running our websites, brainstorming marketing strategies and doing industry research. So I’ve learned to delegate the non-creative stuff and keep the creatively engaging bits for myself.
I believe for many artists, it’s going to be a back-and-forth in terms of how you should and shouldn’t use AI. But I think that if you have authenticity and a voice, these are the cards that you must play.
What is the one thing that you would change about the industry?
It is probably a multi industrial problem, but the amount of stealing in the creative industry is sometimes overwhelming. You see a rising talent coming up with something unique, and shortly afterwards, you notice a big brand copying the design or stealing ideas from small, independent artists or freelancers. And it’s a truly heartbreaking experience.
Not only because you cannot possibly defend yourself with the same number of lawyers that big corporations have, but also because you take your art seriously and care about it deeply. It’s not only your creation in a way, but it is your intellectual property.
So I guess it would only be fair that, if a company sees the potential profitability in someone’s work, they offer the artist a collaboration, royalties, or a contract instead of going behind their back and simply hoping to get away with it.
Any websites, books or resources you would recommend?
One of my favorites is A Dictionary of Color Combinations. I believe that’s a must have for anyone in the creative industry.I like to go through The World of Ornaments by Taschen. When it comes to drawing, I cannot emphasize enough the value of Andrew Loomis’s books on creative illustration. And for botanical inspiration, I do enjoy flipping through the pages of Pierre-Joseph Redouté and The Garden of Eden by Taschen.