Many of Voysey's pattern designs rely for their effect on rhythmically contrasted shapes consisting of areas of flat, clear colour, usually bounded by dark or pale outlines. This is in the tradition of oriental design praised by Victorian reformers of design, such as Owen Jones and Matthew Digby Wyatt. In Voysey's work stylised natural forms, especially plants and birds, often represent the positive shapes, and areas of background form the contrasting negative shapes. This skilful juxtaposition can also be seen in his handling of the solids and voids in his designs for two-dimensional metalwork, such as ventilator grilles and hinges. Some of Voysey's pattern designs after c. 1900 consist of motifs placed in comparative isolation against a light ground. The use of scale is arbitrary, giving an effect of naive charm reminiscent of medieval illuminations and tapestries. The later designs are generally smaller and more delicately coloured than the designs of the 1880s and 1890s.