Jersey Stamps and Collectibles commission Becca Thorne for a stamp collection exploring the legend of Saint Helier.
Becca's new collection of stamps is inspired by the story of Saint Helier, the sixth century hermit and martyr who became Jersey's patron saint. The series explores both the island's history and the myths that have shaped his legacy.
The commission brought together many of Becca's longstanding influences, including medieval art, mythology, stained glass, Celtic imagery and Anglo Saxon design. Although Becca usually works in linocut, she created these illustrations digitally. By building each colour as a separate layer and carving away white space with an eraser tool, she was able to recreate the process and texture of traditional lino printing.
Science Magazine’s report on herpetologist Alejandro Arteaga’s work, is illustrated by Tavo Montañez.
Tavo's rich portrait of the herpetologist is for a feature on his work identifying and protecting Ecuador’s reptiles and amphibians. Written by Humberto Basilio and art directed by Marcy Atarod, the article examines Arteaga’s contributions to species discovery alongside the controversy surrounding some of his methods.
For the commission, Tavo shows a defiant Arteaga alongside Ecuador’s native reptiles, carefully building each element separately to allow flexibility throughout the editorial process.
Carles Garcia O'Dowd designs and draws a monumental illustration for Burning Man 2026, inspired by art history, Black Rock City and the festival's unique culture.
Carles' intricate black and white illustration for this year's Burning Man festival, will be displayed at an impressive 13 by 25 feet.
Drawing inspiration from Hieronymus Bosch's The Garden of Earthly Delights, the composition weaves together references to Black Rock City, kink culture, sensory play and the natural world, alongside nods to iconic works including Francisco de Goya's La Maja Desnuda. Much like Bosch's celebrated triptych, the piece rewards close inspection, with interconnected scenes and hidden details gradually revealing themselves.
Set against the creative backdrop of one of the world's most distinctive arts festivals, the work invites visitors to linger, explore and uncover something new with every viewing.
Season of Victory creates surface design illustrations for Harrods' own-brand stationery, homeware and gifting range.
For Harrods’ own-brand collection, Season of Victory developed a series of playful surface patterns under the concept Pop Rockets, which reimagines the iconic Harrods Bear as an astronaut exploring space.
First introduced in 1906, the Harrods Bear has a long history, making the commission a chance to contribute to a familiar part of the store’s visual identity.
The illustrations first appeared on a collection of children’s travel bags and an astronaut keychain, before being rolled out across a wider range of Harrods stationery, homeware and gifting products.
Season of Victory adds, "The amazing Harrods in-house team put extraordinary thought into their products – always really well designed and great quality. "
Muhammed Sajid's reflective series of portraits from Kerala has been longlisted in the World Illustration Awards 2026.
Muhammed's illustrations are shaped by a deep interest in the stories people carry, and this sensitivity has earned his self-initiated series Folks from Kerala a place on the longlist for the World Illustration Awards 2026, in the Exploration category.
Inspired by the people, professions and everyday rhythms of the Indian state where he was born and raised, Muhammed moves beyond conventional portraiture, weaving personal histories and cultural details into a broader piece.
Armenia-based illustrator Svetlana Molodchenko creates a richly detailed illuminated alphabet for e-card company Jacquie Lawson.
Svetlana was commissioned to create an intricate hand-painted alphabet inspired by the natural world. Drawing influence from 'Mira calligraphiae monumenta' and the ornate illustrations of Joris Hoefnagel, Svetlana developed each letter as its own balanced composition, pairing flora and fauna with beauty and detail.
Amaryllis, artichoke and Adonis blue butterflies appear in 'A', while camellias, chestnuts and common blue butterflies form part of 'C'.
Created entirely by hand using traditional materials and illumination techniques, the project took several months to complete, resulting in a collection that feels timeless and jewel-like.
Carolina Rodriguez Fuenmayor illustrates her second book in Ruby Jean Cottle’s Black River duology, commissioned by Simon & Schuster through Atria Books.
There’s a restless feeling running through Carolina Fuenmayor’s new cover for the final instalment of the Black River duology.
Made for Atria Books ahead of the novel’s September 2026 release, the piece leans into the tension at the centre of the story: desire tangled up with fear, loyalty shadowed by secrecy.
This is vampire fiction at its most emotional - the cover settles naturally into the darker, romantic tone that has shaped the books from the beginning.
Colombian artist Gina has developed a full illustration system for dm-drogerie markt’s Spring 2026 campaign, Garden of Transformation, displayed across more than 2,000 stores nationwide in Germany.
The commission forms part of dm’s rotating artist programme, which invites a different illustrator every four months to reinterpret the brand’s visual identity at scale - Gina is the first Latin American artist selected for the series, extending its cultural and visual range.
Her concept transforms everyday retail environments into living ecosystems, where objects and beauty spaces evolve into organic, blooming forms. The campaign spans storefront façades, posters, postcards, shopping bags, and in-store applications, running until 26 June 2026 and unifying dm’s seasonal presence through a cohesive illustrated world.
Gina says, "Working on this project alongside the design team and my agent has been a deeply enriching journey. Being able to combine analog and digital techniques and to contribute ideas that were ultimately considered for a brand of this scale, has been incredibly rewarding. This commission brings together many of the things I love both as an illustrator and as a person. I hope that those who encounter it feel energized by the colors, uplifted by the visuals, and carry with them a sense of joy and positive energy."
British nature and wildlife illustrator Andrew Hutchinson gives the Yorkshire Tea packaging a refresh.
Back in 2011, Andrew Hutchinson painted an idyllic rural Yorkshire scene which has adorned the Yorkshire Tea box ever since. With a refresh of the brand taking place across 2025 and 2026, branding agency Turner Duckworth commissioned Andrew to refine the popular image by adding and altering some of its elements to fine tune the packaging for two product variants. We asked Andrew about the variety of tiny paintings he created for the refresh and the creative decisions made along the way.
How did this project come about?
I produced the existing Yorkshire Tea box illustration back in 2011 when the company decided they wanted to redesign their box without losing the very strong overall Yorkshire Tea look. Turner Duckworth approached me via my agency, IllustrationX, in 2024 regarding the refresh.
What was the brief?
The brief for this job was to refresh the existing design without spoiling an already popular image. Because of this, any alterations had to be made very subtly. The idea was to give each of the variations of Yorkshire Tea – Decaf, Hard Water and the Original – its own unique identity. A selection of small additions, themed around the branding colour of each tea variation – red for Original, blue for Decaf and green for Hard Water – would be painted, which could be sensitively inserted into the design. For Decaf, blue bells, a blue rucksack and flask and a blue tit were chosen; for the Hard Water, green ivy and a green tractor tie in with the colour theme. Variations were made in the foreground of each box by replacing the lamb with a different one on the Decaf and with rabbits for the Hard Water. Only a couple of tiny alterations were made to the Original box – a cricket ball and a robin. Customers do study these images very closely and I think part of the idea was to give them some new elements to look for.
What was it like to receive this brief?
I was very proud to be asked to work on this design again. Working with Yorkshire Tea has certainly been a career highlight.
What media and tools did you use?
I only use a brush and paint – no computers! The paints I use are acrylic and I paint on a hot press watercolour board. Once completed, my wife Louise scanned the artwork and sent it directly to the designers as digital files.
How was the content of the images decided upon?
The landscape of the box has remained the same as the original and was based on a variety of areas of Yorkshire selected to create a single non-specific Yorkshire landscape. For this job, the designers gave a very clear brief of the alterations they wanted to make and had a list of suggested elements to incorporate but were equally open to any suggestions or comments that I had, particularly about the wildlife elements. One of the elements they were particularly keen to incorporate was a tractor in each image, reflecting the relevant brand colour. Another aspect that the designers were keen to change was the cricket pitch. So, while the original box has a village cricket match in progress, the Hard Water design has dog walkers and hikers crossing the pitch and on the Decaf box there is a tractor mower doing some pitch maintenance.
The tone is relaxing, like having a cup of tea. How did you conjure this feeling?
The lighting and colour had to remain consistent from the original box and across the three designs, so any additions obviously had to tie in with this. I hope the warmth of the colours and intimacy of the design creates this comfortable feel.
Tell us about the little stoat?
The stoat was not particular to these designs but has appeared on all my Yorkshire Tea boxes – my signature if you like. I always try to include some animals in the artwork and stoats love dry-stone walls. It was a bit of a last-minute addition on the original design and could have been painted out but, as it was, the designers loved it and it stayed. All the artwork I produced for the additions was done on white for the designers to incorporate into the images digitally.
What were the main challenges?
All the additions made to the box, for consistency, had to be painted at the same size as the original artwork; one quarter up. This meant that some of the elements were tiny with the tractors being no bigger than my thumbnail. And, although I am a miniature painter, something like an ivy leaf, a bluebell and even some of the figures were so small I could not have done them without using a large magnifying lens.
What were your favourite elements to paint?
I particularly enjoyed working on the ivy that drapes over the wall of the Hard Water box and was particularly pleased that it sat so well in the picture.
What was the collaborative process like?
All the designers I have worked with over the years on Yorkshire projects have been a pleasure to work with; supportive and open-minded. And once the roughs had been approved were always great at leaving me just to get on with my painting.
And do you enjoy a cuppa while working?
Of course, I drink Yorkshire Tea and always have a brew when I am working. Tea-time usually starts at 10:30 when everything stops for Ken Bruce’s Popmaster quiz.
What’s your verdict on the outcome?
I was delighted with this job and it’s always a special thrill when you see your artwork on the supermarket shelves.
Svetlana Molodchenko crafts a spring-to-summer visual narrative across cover and edges for FairyLoot.
Svetlana was commissioned by FairyLoot to produce a dust jacket and digital edge illustrations for The Swan’s Daughter, bringing a sense of quiet enchantment to the exclusive edition.
Her approach centres on the fragile shift from spring to summer, where soft florals and light-drenched tones echo the novel’s themes of power, survival, and love. Subtle references to the text are woven throughout, giving the artwork a layered, almost heirloom quality.
Extending the imagery across the book’s edges, Svetlana turns the object itself into a continuous scene, inviting the reader to step into a suspended fairytale moment.
British nature and wildlife illustrator Andrew Hutchinson gives the Yorkshire Tea packaging a refresh.
