Despite this, she managed to combine part-time teaching with working as an art director on documentary, educational, medical and information films and undertaking various book illustration projects and commissions.
Some of the striking portraits and landscapes from her extended visits to Rhondda in 1943, 1944 and 1945 appeared as illustrations to Miner's Day by B. L. Coombes and publications on post-war social and industrial reconstruction.
She wrote and autolithographed The Story of Plant Life, one of the celebrated Puffin Picture Books, and embarked on a range of other illustration projects, developing her lithographic skill with the help of Barnett Freedman.
While never forsaking line, she turned from illustration to paint, colour and form on a larger scale, and during the next forty years produced distinctive and often dramatic landscapes and seascapes interspersed by portraiture and forays into abstraction.
[2][4] The sheer variety of her work, and the influences she documented in her publication Sources of 20th Century Art, run counter to later attempts to pigeon-hole her as a typical small-scale English landscape painter.