FAIRYOPOLIS by Erin
This art is an example of translational (slide) tessellation symmetry: each faery is a reproduction of the ones near it, but moved along the X or Y axis and not rotated nor a reflected "opposite" image of the others.
The outlines are uniformly sized, and thick compared to the internal lines. These are all good things, for tessellation art. We could wish that, for Escher style (representational) tessellation, the silhouette of each faery were more recognizable without seeing the internal lines and coloring. That's how we spot really good Escher-style tessellations.
Also, we have to wonder "Where are the hands? Are they neatly tucked under the legs (good), or hidden behind the hair of the faeries below them (bad-- overlaps aren't allowed in tessellation)?" Likewise, where are the legs? Are they missing (bad), hidden behind other faeries' heads (bad), or neatly crossed Indian-style and folded under those sky blue skirts (good)? Remember that tessellations should have no overlaps from one "tile" (Faery) to the next.
For fun, compare Erin's Fairyopolis to the similarly-themed Angels by Anea. It's fun to see how they're similar, and also how each succeeds (or fails) a little, as tessellation art, compared to the other.