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Illustratoren und die Repräsentanz.
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.
Für die kolumbianische Marke WeedGreen präsentiert German Migrations, eine Kollektion, die von den weiten Wanderungen von Tieren über Kontinente, Küsten und Ökosysteme hinweg inspiriert ist.
Reiher, Flamingos und Wale erscheinen auf T-Shirts, Bademode und weiteren Kleidungsstücken und übertragen die Rhythmen der Natur auf den Alltag.
Germans detailreiche Illustrationen rücken jedes Tier mit seinem charakteristischen Gespür für Eleganz und Symbolik in den Fokus und spiegeln zugleich die außergewöhnliche Artenvielfalt Kolumbiens wider.
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.
Hao Hao's warm colour palette and imaginative approach make her a natural fit for projects that invite audiences into new worlds. This playful packaging series reimagines pizza boxes and cups as portals to adventure, inspired by the brand's focus on exploration and discovery.
Rather than illustrating the pizza directly, Hao Hao focused on evoking the experience of eating it. Light, airy dough becomes a floating journey above the clouds, fresh ingredients are transformed into vibrant jungle landscapes, and stretchy cheese is reinterpreted as a bouncing waterfall that pulls characters deeper into the scene.
Filled with movement, narrative and charm, the illustrations turn familiar packaging into an experience in itself, inviting customers to feel as though each bite is the beginning of a new adventure.
Energiegeladen und unverfälscht fängt Dannys Bild die körperliche Ausdauer und mentale Konzentration des Langstreckenlaufs ein.
Bekannt für seinen strukturierten Mixed-Media-Stil, lässt er die Komposition die Geschichte erzählen. Weite Landschaften, expressive Spuren, beanspruchtes Gelände und der gleichmäßige Rhythmus vieler zurückgelegter Kilometer formen die visuelle Erzählung.
Mit Kapiteln zu Geschwindigkeit, Kraft, Mentalität, Schlaf und Ernährung soll das Sachbuch Läufer*innen jeden Alters dazu inspirieren, dranzubleiben. Dannys Illustration transportiert genau dieses Gefühl von Entschlossenheit und Ausdauer.
Mau was commissioned to create artwork for a playful 'Life Hacks' feature encouraging readers to reduce water consumption through quicker, more mindful shower routines.
Using his lively style, Mau transforms the idea of the 'military shower' into fun visuals, turning an everyday routine into something relatable and memorable for kids.
Working in her retro comic-book style, Cat gives the piece a strong sense of movement and urgency, creating a heightened, playful world that suits the feature’s title, Power Up!
Made for an article exploring power as the ability to generate force quickly, the illustration connects fitness to everyday actions like jumping, or reacting fast.
Cat’s illustration adds a sharp, energetic note to a familiar conversation around staying active for longer, framing strength and movement as part of everyday life.
Styling Nancy in 1930s clothing and working with a palette influenced by 1950s Technicolor films, the series has a vivid but slightly timeworn feel.
Drawn from vintage paperback covers, old sewing patterns, and the familiar theatricality of classic detective stories, the covers have a shared identity that feels nostalgic, with a familiar sense of suspense, true to what the genre promises.
Developed as part of a public research initiative, the project includes three large-scale illustrated maps representing urban, rural, and seaside park settings, each designed to be filled gradually with stickers and personal additions.
Participants are invited to imagine what they would like to see in shared outdoor spaces, from lighting and play areas to wildlife, trees, and quieter corners to sit. Vicky's designs leave plenty of open space, giving the activity an easy, conversational feel rather than directing people toward fixed ideas.
Produced for the London School of Economics’ Cities programme, the project turns consultation into something more tactile and approachable, shaped by the people taking part.