The linearity of her work also echoes the exposed rock strata everywhere to be seen in Australian deserts, so that truly "her ceramics are grounded in the tonal and linear patterns of the land". She was also influenced by indigenous painting (she owns works by indigenous artists Queenie McKenzie and Kitty Kantilla) and painter Fred Williams. McKenzie's influence can be seen in the serried, stacked segments of landscape that recede to the horizon line, and Kantilla's influence is clearly evident in the motif of parallel, slanting or vertical lines within these landscape segments. Coalescing all these influences and ideas together, Drysdale arrived at her signature style of intense colour and fine linework in the first "Tanami" series called "Red Desert" (Frankfurt, 2003), which was a great success. Her technique encompasses the selection of a suitable vessel, the adding the layers of glaze, then the careful linear incisions with a knife through a masking resist to inscribe the tracery that defines and shapes each work. Because the masking medium quickly dries into a form too hard to inscribe, Drysdale can work only on one small section at a time. The inscribed lines are then brushed out and filled with thickly applied color, and the excess color is removed. Another feature of Drysdale's later oeuvre are her assemblages of asymmetrical pieces, suites of closed forms that echo geological features of Australia, such as the "Devils Marbles" series, inspired by the Karlu Karlu / Devils Marbles Conservation Reserve in the Northern Territory. Drysdale finds constant renewal of self in the creative process, dating back to her earliest contact with clay: Drysdale's studio for the last 30 years has been her home in the port of Fremantle, a worker's cottage, now heavily renovated, bought for her by her father. Her pottery is thrown by Warrick Palmateer, a fellow Curtin graduate. She has a studio team of helpers to do the glaze mixing, colour testing, firing, bisque-ware sanding, internet work and shipping of work. The porcelain clay is pugged multiple times, wrapped to "sweat" for four weeks, then repugged before use. Drysdale's works are found in many private collections. The 12th Duke of Devonshire, Peregrine Cavendish, has a large collection (over 100) of Drysdale's works. Her work is represented in the collections of the National Gallery of Australia, Art Gallery of Western Australia, Powerhouse Museum, Auckland Art Gallery, Queensland Art Gallery, Tasmanian Museum and Art Gallery, Museum and Art Gallery of the Northern Territory, National Museum of Scotland, Museum of Fine Arts, Gifu, Tomsk State Gallery and Museum, Novosibirsk State Art Museum, as well as in the Victoria and Albert Museum ceramic collection, London.