After the war, she designed printed textiles for Morton Sundour, with flowers and circus scenes that were a world away from the abstraction and what she called, in her idiomatic spelling, ‘interlectual’ colours of the 1920s’ block prints, showing that she was flexible and could perform well in many roles.
She enjoyed unusual tasks, such as suitcase linings for her friend John Waterer, laminates for Harrison & Sons and, a high point of her career, the low-value definitive postage stamps in 1952; but there are many files in her archive recording failures, with uncommitted firms fearful of insufficient sales or unwilling to pay a decent fee.
One sad result from this is that Marx is remembered largely as a pre-war figure, when in fact she updated her style rather successfully to take in Op Art and loose graphic textures. Designing for flat surfaces was the connecting thread, and whatever style she used there is always an intuitive balance of movement and structure, with a range of scales in the patterns to entertain the viewer’s eyes.