Between 1930 and 1938, Andrews and Power shared a studio in Hammersmith, where they developed a great collaboration, influencing each other and adopting similar printmaking techniques, especially linocut.

[7] In 1925, Andrews was employed by Iain Macnab as the first secretary of The Grosvenor School of Modern Art, where she also attended Claude Flight's linocutting classes.

[12][13] Unlike the laborious and difficult woodcutting technique, linocutting was prized for its simple tools and materials, making it economical and particularly appealing to Andrews – a woman of modest means.

[14][4] Following Flight's process, Andrews used ordinary household linoleum, gouges made from umbrella ribs, and a simple wooden spoon to rub against the paper during printing.

[12][3] Andrews was influenced by the prevailing art movements of her time, predominantly Vorticism which had strong roots in England and Futurism which originated in Italy, by combining both styles she was able to reflect upon the fast-paced changes inherent to a modernizing society.

[4] A recurring theme in Andrews's work is sport, from horse racing and jumping, to rowing crews, otter hunting, and speedway riders; through this, she conveys the exhilaration, speed and thrill of action.

[3] Formally, Andrews’ works utilizes the principles of modernist design: simplified, geometric forms combined with vibrant, flat colors, and dramatic arrangements – suggesting the dynamism of modern life.

[15] Perhaps most significant is Andrews's staple device of a "centrifugal force-field," where elements of the composition rotate around a central point in order to create the illusion of movement.

[21] Approximately a month after it closed, an exhibition concentrating on wholly her works opened at the Glenbow Museum in Canada, which finished in January the next year.

[23] Seeking a new life together after the depression of two world wars, Andrews and Morgan moved to a small cottage in the logging community on Vancouver Island where they made ends meet building and repairing boats.

[24] The Glenbow Museum in Canada holds copyright for Andrews's estate and houses the majority of her work with a collection of over 1000 examples, including the main body of her colour linocuts, original linoleum blocks, oil paintings and watercolour, drawings, drypoint etchings, sketchbooks, and personal papers.