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illustrators and the representative.
Cincinnati Opera’s multi-year initiative, The Black Opera Project, explores new possibilities for opera through stories centred on Black voices and experiences. For its feature on the initiative, Cincinnati Magazine commissioned Quincy to create an artwork inspired by the premiere of Lalovavi.
Quincy’s illustration reflects the Afrofuturist themes of the opera, featuring Black performers in striking costumes as they sing and take centre stage. Using his signature bold, minimal style, with strong graphical shapes and expressive portraits, Quincy creates an uplifting image that captures the forward-looking spirit of the work.
Following their previous collaboration on A Vida Secreta de Violeta Picles, Carol and writer Caio Tozzi have reunited for a new story centred on one of Violeta’s friends, Ringo Calado.
Published as part of Leiturinha’s monthly book subscription programme in Brazil, As Férias Heróicas de Ringo Calado follows Ringo during a challenging family holiday that takes an unexpected turn when he becomes determined to win a mysterious stuffed toy from a beachside claw machine.
The book continues the playful world established in the first title, with Carol’s illustrations capturing the characters’ personalities and the humour running through the story.
Drawing on the goddesses and folklore of the British Isles, Zansky developed artwork centred around a powerful female figure whose flowing hair transforms into the waters from which Coventina emerges, a Celtic goddess associated with wells and springs.
Combining symbolic details such as dandelions, bluebells and a spear, the illustration reflects the book’s themes of strength, mythology and resistance.
The final artwork sets the tone for a story where its maidens are not waiting to be rescued, but are ready to fight.
More on the book here.
Luiza has created the fourth cover illustration in a six-part series for Mazette, the in-house publication of international seed company MAS Seeds.
This issue explores the work behind sowing season, following the teams responsible for sorting, quality control, and preparing and shipping seeds to more than fifty countries.
Continuing the visual language established across the series, Luiza combines her poetic and playful style with her imaginative approach to portray the many stages and roles involved in seed production.
Jacob was commissioned by Radio Times to create an illustration exploring how grey water, such as wastewater from cleaning, can be reused in regenerative projects. The piece highlights initiatives that filter and repurpose water to support activities such as crop growth in Brazil.
Jacob’s illustration shows a bath drain transformed into the source of a growing bunch of flowers, offering a simple visual metaphor for how waste water can be given a new purpose.
Using his recognisable style of strong forms, contrast and colour, Jacob combines a light-hearted approach with a message about sustainable solutions.
Ben was commissioned by Manchester City FC to create a series of nine posters celebrating the club's players representing their countries at the 2026 FIFA World Cup.
The campaign featured Erling Haaland, Tijjani Reijnders, Rodrigo, Jérémy Doku, Ruben Dias, Joško Gvardiol, Nico O'Reilly, Omar Marmoush and Rayan Cherki, with the posters displayed as wild postings in the streets of the cities that would be hosting games.
Inspired by the layered gig posters found around Manchester's Northern Quarter, Ben developed a mixed media approach with ripped textures and lettering, combining handmade elements with digital composition for print.
The finished posters deliberately retained their rough edges and imperfections, reflecting the energy of the streets where they were designed to be seen.
Reflecting on identity, ambition, family and the role food plays in shaping our lives, Hungry Eyes is the latest memoir by Dawn O'Porter.
Iratxe's painterly, naïve style is a natural fit for the subject, which centres on the memories and conversations gathered around the kitchen table. Bright colours and hand-painted textures transform everyday food into a warm, inviting composition that hints at the personal stories within.
The story follows Marlow, a single mother who buys a house in France for one euro, only to discover it comes with unexpected complications that pull her into a renovation project and an unplanned shift in life.
Matthew's cover brings a sense of place to the story, drawing the reader in to follow the characters and see what unfolds.
Lost in France is available now.
Produced for the travel and leisure publication for the public sector, the illustration brings together camping, cycling, hiking and other pursuits in a thoughtfully composed scene.
Donough guides the reader naturally through the spread, using interlocking shapes, colour and texture to connect the feature's many ideas while maintaining a sense of fun.
The editorial looks at the return of sandhill cranes to the Park City area each spring and summer, exploring the habits of one of the world's oldest bird species.
Hannah's intricate illustration reflects the subject with a decorative composition of cranes, drawing on her distinctive hand-drawn line work, nature-inspired motifs and subtle Eastern influences.
A style to realise the client’s vision "Drew's unique graphic style with big shapes, bright colours and subtle use of texture made him the perfect artist for the client’s vision. Each package design is as unique as the flavours created," remarks Karen. The brief sent to Oregon-based illustrator Drew was very thorough. Graphic layouts for the cans had been established with the Dillon’s logo, product name, regulatory text and so forth already in position. All Drew had to do was… well… draw the fruit. "My initial response looking at the brief was, ‘Man, this is too easy.’ It was simple shapes of fruit and botanicals, no realistic rendering or additional textures. It was too good to be true. But that's where I was wrong. The simplicity of it all was the most difficult part,” says Drew. Not all the graphic elements on the template Drew had clean edges. The main logo itself sits on a cream-coloured field with a papery texture and a torn edge. From tangerines to apricots and from watermelons to blueberries, Drew roughed up his illustrated fruit forms with textured edges – bringing personality to the fruit in a way that would work aesthetically with the can design templates.
From rough textures to vectors "The Illustration also needed to be in vector format for the printing process, and that was a limitation too, so I developed a way to create a rough organic texture using the blob brush in Adobe Illustrator. It’s kind of like stippling but adding and subtracting small marks around
the edge of each shape. It takes time and focus, and can only be created by a human hand," says Drew. With the illustration for each can, Drew focused on creating iconic representations of the individual fruits and botanicals. Working in his garage, which has been converted into a creative studio, he followed composition guidelines provided by the client to create an even mix of the flavours in each cocktail, conveying the sense that the flavours are balanced and unique. "I was very attentive to the way the shapes overlapped and to their directional qualities – how they’re moving your eye through the can, making sure the details did not interfere with text and impede readability,” continues Drew. "This was unlike my previous work on children’s books or editorial – this truly was a puzzle." Attention to detail
Working towards a look that would be organic, lean and iconic, the first can illustrations Drew created were supplied to for client feedback as works in progress. In close communication with the art directors at Mark Anthony Group, Drew made the refinements, adjustments and edits. As the series has grown, so has the collaborative understanding between artist and client – with support from Karen at IllustrationX.
"The feedback was very detailed, and I was grateful for that," says Drew. "The design team at Mark Anthony Group told me exactly what was working and what wasn’t. I wasn’t left scratching my head but inspired to improve on what had already been made. Having this kind of feedback from the client was very helpful and I feel the artwork is better for it." While there isn’t a lot of drinks packaging in Drew’s portfolio, he is ideally situated to capitalise on his experience creating Gin Cocktail cans for Dillon’s. Oregon and the Pacific Northwest generally have been the epicentre of the craft brewing culture. A huge variety of
can and bottle designs have come with it, giving illustrators plenty of inspiration and opportunities along the way.
"What I've learned working with Marc Anthony group and the Dillon's cocktail series is that the printing process can be a limitation on how the artwork is made as well. There are regulations for the design and the text that is required on the can. Those are things that I haven't had to think about too much in the editorial and publishing world,” adds Drew. And the overall outcome? Beautiful cans that catch the eye as well as the imagination, along with refreshing, uniquely flavoured cocktails for Canadian consumers to enjoy.
Sholto is celebrating 25 years of the Frome Festival this July, having illustrated its poster and events programme every year since 2002. What began as a local festival in the Somerset market town has grown into a much-loved annual event, welcoming acclaimed artists, performers, writers and musicians alongside thousands of summer visitors.
To mark the anniversary, Sholto has shared twelve of his favourite festival illustrations from across the years, looking back on a creative partnership that has become an enduring part of the festival's identity.
Marieke's atmospheric illustrations explore the rich folklore of the Netherlands and Belgium in the newly published children's book. Created with ink, watercolour and gouache on paper, they introduce readers to a cast of legendary creatures, from Bullies and Goblins to Werewolves and White Witches.
Marieke also designed a decorative illustrated initial for every story, adding an extra layer of craftsmanship to the book's visual identity. Written by Floor Bal, the collection features ten thrilling tales inspired by well-known and lesser-known monsters from the Low Countries, inviting young readers to discover the eerie legends hidden close to home. As a special addition, one story has been translated into Frisian and another into Low Saxon, celebrating the region's linguistic heritage alongside its folklore.
Camila's recent commission for Simon & Schuster, working through its imprint Atria Books, sees her design the covers for Audrey Goldberg Ruoff’s Hopelessly Teavoted and Vengefully Matched.
The first book arrived in September 2025 and the second is set for this October - revealing a visual sense of continuity between the two.
Aimed at the contemporary romantic fiction reader, the pair reflects the shifting pull of attraction, tension and timing at the heart of the series, where romantic mistakes and second chances build over time.
For the special America 250 edition of Smithsonian magazine, Tuhina has created a vibrant portrait of the gaming pioneer, accompanying a feature that revisits one of the industry's most influential innovations.
Lawson led the team behind the Fairchild Channel F, the first home video game console to use interchangeable cartridges, a breakthrough that changed the gaming experience.
Tuhina captures that spirit of invention with an energetic composition alive with colour, circuitry and nostalgia, placing Lawson at the centre of a revolution whose impact still echoes through every console generation today.
Meg Cabot, the NYT best-selling author of The Princess Diaries, returns with a story set in the coastal town of West Harbor. It follows therapist Frankie Giovanni, whose practical outlook is unsettled when she finds herself drawn to her psychic neighbour, Ash Merit.
Published by HarperCollins and licensed for international distribution with Little, Brown Books, Alissandra’s cover uses a fiery colour palette and a composition that leads you through the illustration, hinting at a world where opening yourself up to the unexpected may be the most magical act of all.
Dillon's Small Batch Distillers asked Drew to develop a series of illustrations for the brand's gin and vodka cocktail tins, each inspired by the fruit and botanicals that define the recipes.
His art leans into the mood and personality of each drink, using bold shapes and layered textures to create a sense of energy that feels playful and tactile.
See the range here.
Commissioned by Turkish Airlines, the series was created as a set of icons for use across social media and GIPHY, later developed into individual GIF stickers.
The brief focused on elements unique to the airline’s service and identity, from uniforms and cabin crew, including the 'flying chef', to onboard amenities and in-flight details.
Working in a bold, graphic style, Megan's flexible set of assets translates aspects of the flying experience into everyday digital communication.
Each design brings together familiar landmarks, cultural references and everyday details to form a portrait of place that feels personal to both visitors and locals.
The collection spans cities including London, New York, Tokyo, Paris, Taipei, Berlin, Amsterdam, Bangkok, Madrid and Sydney, each built through research into the small visual cues that define how a city is experienced day to day.
Season of Victory also created additional illustrations for their AquaStand range, including a Taipei wrap design and a global skyline composition that connects the wider series.
She says, "This project was such a joy to work on, collaborating with the Rhinoshield creative team. Starting with their brief, I further researched the details of a city - hunting for the symbols, colours and quirks that make each place unique – we then brought them together into a cohesive, collectible series. Huge thank you to Cindy and Munoz for having me on this project!"
The products are available via RhinoShield.
How do we make ourselves heard in a world full of competing voices? That's the question at the heart of Anne's longlisted entry for the World Illustration Awards 2026.
Selected from more than 4,500 entries, Anne's illustration reflects on how important perspectives can be drowned out by louder voices and the constant stream of information we encounter each day.
Developed from pen and ink drawings and refined in Photoshop, the piece has secured a place on this year's longlist, with the shortlist due to be announced later this year.
Luiza's illustration accompanies an article on the hiking routes and outdoor experiences at Les Monts d'Arrée in Finistère - a double-page spread exploring a landscape shaped by walking, discovery and a deep connection to nature.
Her art brings a family into focus, a central anchor for the eye that gives the image a generous sense of space, while opening up an environment known to be a true paradise for walkers, hikers, and cyclists.
For Colombian brand WeedGreen, German presents Migrations, a collection inspired by the long-distance journeys of animals across continents, coastlines and ecosystems.
Herons, flamingos and whales appear across T-shirts, swimwear and apparel, turning everyday garments into the rhythms of the natural world.
German's detailed illustrations bring each creature into focus with his signature sense of elegance and symbolism, while reflecting Colombia’s rich biodiversity.
The book by osteopath and performance coach James Davies sets out a daily ten-minute method aimed at improving back health through movement and routine practice.
Juliet's drawings, produced in graphite with a loose, fluid line, are integrated across the internal pages to support the written sequences, clarifying positioning and progression.
Published by Hodderscape, the books imagine a future divided by wealth and status, where humanity exists between the Upcountry, an immersive virtual reality, and the Downcountry, the deteriorating remains of the physical world.
Carolina's bold use of colour and contemporary character-driven approach make her a natural fit for the YA dystopian genre, translating the novels’ cyberpunk-inflected world into covers that feel charged and immersive.