ĭiscouraged by The Green Sheaf's lack of financial success, Colman shifted her efforts towards setting up a small press in London. The Green Sheaf survived for a little over a year, a total of 13 issues. ( George William Russell), Gordon Craig (Ellen Terry's son), Dorothy Ward, John Todhunter, and others. In 1903, Smith launched her own magazine under the title The Green Sheaf, with contributions by Yeats, Christopher St John ( Christabel Marshall), Cecil French, A. Additionally, Smith donated her services for more poster designs and toys to the Red Cross during World War I.
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Smith supported the struggle for the right to vote, and through the Suffrage Atelier, a collective of professional illustrators, she contributed artwork to further the cause of women's suffrage in Great Britain. She illustrated Bram Stoker's last novel, The Lair of the White Worm in 1911, and Ellen Terry's book on Diaghilev's Ballets Russes, The Russian Ballet in 1913. She also continued her illustration work, taking on projects for William Butler Yeats and his brother, the painter Jack Yeats. These books included Jamaican versions of tales involving the traditional African folk figure Anansi the Spider. Smith wrote and illustrated two books about Jamaican folklore: Annancy Stories (1899) and Chim-Chim, Folk Stories from Jamaica (1905). Pamela Colman Smith, photographed in 1904 for The Reader magazine Arthur Ransome, then in his early 20s, describes one of these "at home" evenings, and the curious artistic circle around Smith, in his 1907 Bohemia in London. In 1901, she established a studio in London and held a weekly open house for artists, authors, actors, and others involved with the arts. In London, she was taken under the wing of the Lyceum Theatre group led by Ellen Terry (who is said to have given her the nickname 'Pixie'), Henry Irving, and Bram Stoker and traveled with them around the country, working on costumes and stage design. She returned to England that year, continuing to work as an illustrator, and branching out into theatrical design for a miniature theatre. In 1899 her father died, leaving Smith at the age of 21 without either parent. She became an illustrator some of her first projects included The Illustrated Verses of William Butler Yeats, a book on the actress Ellen Terry by Bram Stoker, and two of her own books, Widdicombe Fair and Fair Vanity (a reference to Vanity Fair). Smith herself was ill on and off during these years and in the end left Pratt in 1897 without a degree. While Smith was in art school, her mother died in Jamaica, in 1896. Her mature drawing style shows clear traces of the visionary qualities of fin-de-siècle Symbolism and the Romanticism of the preceding Arts and Crafts movement. There she studied art under Arthur Wesley Dow, painter, print maker, photographer, and influential arts educator. World War I-era poster encouraging people to buy a bulldog, with proceeds going to benefit soldiersīy 1893, Smith had moved to Brooklyn, where, at the age of 15, she enrolled at the Pratt Institute, which had been founded six years earlier.
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