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.
Bright's Becca Hall teamed up with the iconic Derwent Pencils for a sponsored partnership to advertise their brand new range of colour pencils.
Becca said of the partnership "Derwent will always have a special place in my heart – they’re based in the Lake District where I grew up, and I’ve used their pencils since I first started drawing."
Bright’s Kushiaania was commissioned by Historic Royal Palaces to create a mural for the Kensington Palace exhibition ‘Last Princesses of Punjab’. Celebrating Sophia Duleep Singh and the women who shaped her, the exhibition opened on the 26 March 2026.
Max Loeffler was commissioned by the Teenage Cancer Trust to create a poster for Paul McCartney’s 2012 concert for them at The Royal Albert Hall.
Max Loeffler was commissioned by the Teenage Cancer Trust to create a poster for Paul McCartney’s 2012 concert for them at the Royal Albert Hall. The design come in an edition of only 100, featuring metallic inks and gloss spot varnish. All prints were personally signed by Sir Paul McCartney and sold out in minutes.
Jhon Boy recently created the identity and campaign for EstarB, a psychological and emotional support service for young people aged 12 to 25 launched by the Barcelona City Council.
Design studio Clase said that Jhon Boy's illustrations "capture everyday emotional moments through a simple, warm and inclusive visual language. The scenes focus on dialogue, care and connection, translating complex emotional states into approachable images that resonate with a young audience".
"The campaign extends this visual and verbal dialogue into public space across the streets of Barcelona, where the illustrations become the main vehicle to communicate the service."
Jhon Boy is the alias of Jorge Gallardo, a visual artist from Tenerife, Canary Islands. He tries to understand reality through his work, while creating a dialogue between image and viewer.
The style of his works is minimalist and clean and the most important part of Jhon Boy's process is the concept he can transmit with each scene.
Jhon Boy says: “I have always been fascinated with images, the impact they make in our lives is absolutely punishing. I prefer to create some kind scenes and exchange a dialogue between the image and the viewer, reducing everything to human values. On the other hand, my work can be understood in a lot of different ways, I prefer to let people think or see whatever they want to.”
This striking image by Sarah Perkins of Summertime gives a great feel for her work as a conventional artist and experienced digital and collage artist.
Sarah produces her collage work with pictures, and mark making, and eclectic textures and text, to convey her very own unique illustrative narrative.
Sarah’s work has been used in publishing on many literary covers, fiction, and classics, and also editorial work and gift books and theatre posters.
Her interests are in period /events in history, places folklore and customs.
We’re thrilled to introduce Ana Zaja Petrak, the latest illustrator to join Meiklejohn.
Based in the vibrant city of Zagreb, Croatia, Ana brings a colour-drenched, expressive illustration style that celebrates gastronomy, Mediterranean slow living, and the beauty of nature. Created using both digital and traditional techniques, Ana’s minimal and playful artworks balance sophistication and spontaneity; a mix that allows her to craft images that feel contemporary, yet timeless.
With an impressive portfolio that includes collaborations with global brands such as Whole Foods Market, Marks & Spencer, and San Pellegrino, Ana’s bold and abstract work has been used to bring many beautiful projects to life from eye-catching packaging to beautifully designed cookbooks.
We hope you enjoy taking a look at a selection of Ana's work. You can see more in her full portfolio.
“I fear I have fallen for a certain internet monkey” - @bugboyriley
Oh Riley, I fear the whole Bright team has too!
Riley is an illustrator who grew up in Cleveland, Ohio. He attended Kent State University and received a Bachelor of Fine Arts in Visual Communications and Design. He has since traveled across the country from coast to coast working for various studios as an Illustrator in both the children’s book and greeting card industries. Riley’s work is fueled by his friends and family he has found in the LGBTQIA+ community, as well as his wide array of other passions including the wildlife around him, and good food. In his free time, you’ll probably find Riley tending to his indoor jungle or cooking up something in the kitchen.
Jean-Manuel specialises in not specialising: he loves to do editorial work for magazines and newspapers, advertising campaigns, murals, calendars, stationery and children's book illustrations.
Previous clients include The New York Times, The Wall Street Journal, The Financial Times, Smithsonian Journeys Magazine, The National Geographic Traveler, The Guardian, Cosmopolitan, Marie-Claire, Yale University Press and Pushkin Press.
British nature and wildlife illustrator Andrew Hutchinson gives the Yorkshire Tea packaging a refresh.
