The work

A body of work built for products that get noticed.

The archive spans 400-plus illustrations and patterns across four disciplines. Below is a representative sample grouped by theme — if you see a direction you like, it is usually possible to develop something in that vein for your brief.

Detailed botanical watercolour illustration of tropical leaves and flower stems on cream paper

Theme one

Botanical patterns

Plants are a perennial subject because they reward being studied. The botanical work here draws on real specimen drawing. The kind where you spend twenty minutes looking at how a leaf joins a stem before you pick up a pen. That care shows in the final artwork; the shapes feel observed rather than invented.

The repeat patterns in this range run from dense, maximalist tangles of foliage to spare, graphic arrangements of single stems. Both ends of that spectrum license well. The dense prints work on ceramics and upholstery fabric where the repeat can breathe at scale, and the cleaner designs suit stationery, packaging and anything that also needs to carry text. Several of these have appeared on greeting-card ranges and on printed cotton.

Colourful illustrated greeting cards with hand-drawn animal characters spread out on a white desk

Theme two

Playful character illustration

Characters are different from patterns because they have to carry a feeling the moment you see them. A fox on a card either makes you want to give that card or it does not. The character work here leans warm and specific — animals with personality, people going about their days, little scenes that take two seconds to read and stay in your head.

These illustrations have appeared on gift wrap, children's books, enamel pins, tote bags and a run of printed tea towels. The style translates from ink-and-wash originals to clean digital vector depending on what the end application needs. Commissions in this range often involve developing a recurring cast of characters for a product line — which is some of the most satisfying work the studio takes on.

Hand-lettered brush calligraphy script on cream card with ink pens and an open notebook

Theme three

Hand-lettering & illustrated type

Type that is drawn rather than set has a warmth that digital fonts can describe but rarely achieve. The lettering work here covers everything from loose, gestural brush scripts to more structured display alphabets with decorative flourishes. Some of it sits alone; some is integrated with illustration so the words and the pictures feel like they belong together.

Products this work has featured on include wine labels, calendar prints, motivational posters, tote bag copy and a run of birth-announcement cards. If you have a phrase, a short poem or a product name that needs to look like somebody cared about how it was written. That is the brief this work is built for.

Flat-lay of editorial illustration tearsheets and printed art prints spread on a studio light table

Theme four

Editorial illustration

Editorial work is where the brief comes with a deadline and a word count and the picture has to do its job fast. These illustrations have appeared alongside articles on food, travel, lifestyle, business and culture — in print magazines, digital publications and brand content. The challenge each time is to make an image that adds to the story rather than repeating it.

The editorial archive demonstrates range across style: some of it is detailed and textured, some is flat and graphic, some sits somewhere in between. Brands commission this work for annual reports, content marketing, digital-first editorial and product lookbooks. The turnaround is typically faster than for pattern work, and the style can flex to match an existing publication voice rather than imposing one.

Working from the archive vs. commissioning new work

There are two broad ways to work with the studio. The first is to licence existing artwork from the archive. You see something you want to use, and the studio grants a licence for a specific application, market and territory. This is faster and usually less expensive.

The second is a commission: you come with a brief, and the studio develops new artwork built specifically for your product. Commissions typically involve an initial concept stage, revision rounds, and delivery of final files in whatever format your production requires.

Both routes are viable and genuinely common. Many clients start with a licensed piece, find the studio's approach works for them, and come back with a commission. The licensing page covers fees, exclusivity, and how a typical deal is structured.

Looking for something specific? The archive covers far more than what is shown here. If you have a theme, colour palette or product category in mind, email [email protected] and ask — there is a decent chance the right piece already exists.

See something that fits?

Licences are available for most pieces in the archive. Get in touch with the product you are making and which illustration caught your eye, and the studio will send terms and pricing within two working days.

How licensing works Send a brief