The map also features as the book's endpapers, giving readers a fully realised view of the Isle of Sidhe before they've even reached chapter one. It's the kind of detail that will pull readers straight into the world - atmospheric, intricate and packed with the sense of history and danger that runs through Fia's story. 

Map illustration is one of Tomislav's real strengths, a rare ability to combine narrative detail with striking design, turning a simple navigational aid into a piece of storytelling in its own right. It's a skill he's brought to projects across fantasy and adventure fiction for many publishers over the years, and Riftborne is a brilliant new addition to that body of work. 

You can see the full artwork HERE, along with more of Tomislav's maps and other wonderfully detailed work, over on his newly updated portfolio. 

Keep up to date with Arena Illustration's talented artists by subscribing to our weekly news.

World War Two Tanks for the Imperial War Museum

Frances' lastest colouring book for the Imperial War Museum, World War Two Tanks, has recently been published and it marks the third title in her ongoing colouring book series for the Museum. Packed with meticulously researched line illustrations of iconic tanks and the battles they fought in, the book continues Frances' knack of making serious history genuinely engaging for younger readers (and the grown-ups colouring alongside them). This new colouring book is a brilliant additon to a series that's clearly only getting stonger with each instalment. 

Two Stunning Record Sleeves for Clay Pipe Music

Frances has also been busy designing vinlyl and CD sleeves for two new releases on the brilliant Clay Pipe Music label.  From the Edge, by musicians Richard Bundy and Anna Phoebe, takes its inspiration from the acoustics, history and atmosphere of Dover - Frances' artwork quietly captures that sense of coastal border town with a story to retell. 

Whitby, is a similarly evocative piece - a meditation on history, landscape and nature inspired by the stark beauty and unsettling calm of the North Yorkshire coastal town. Frances' sleeve design matches that mood beautifully.

It's always a pleasure watching Frances move between worlds like this - from museum non-fiction to atmospheric, music-driven artwork, without ever losing her unmistakable style. Take a look at her full portfolio HERE. 

Keep up to date with our artists' news by subscribing to our weekly newsletter. 

The Cobb Street Commandos is set in 1941 and the Second World War has transformed London. All the adults are doing important things and playing their part. Jimmy and his friends want to be in the thick of the action, doing whatever they can to keep the East End safe. So, they form a top-secret group called the Cobb Street Commandos.

Houses become hidden headquarters for official CSC meetings. Abandoned warehouses turn into their personal training grounds. They create helmets from cardboard and training tools from old scraps of wood. They know how to be creative and are more than ready for battle. The only thing missing is a mission for them – until now, that is.

Join Jimmy and his friends in action-packed adventures around the city as they raise money for Spitfire planes, train alongside soldiers and go on daring missions to meet the prime minister – Winston Churchill himself!

Aleksei's energetic line work brings Tony's text to life, from the scrappy, loveable Cobb Street Commandos themselves to swooping Spitfires, a brilliantly rendered Churchill and the bombed and bustling streets of wartime London. He has an instinct for comic timing that makes the characters leap off the page, but it's his eye for historical details that gives the book its real sense of place and period. 

Take a look at more of Aleksei's amazing interior illustrations for Tales of the Cobb Street Commandos over on his portfolio. 

Aleksei Bitskoff is well known for his humorous, and incredibly intricate illustrations and as a compulsive doodler from an early age, he has now collaborated with a huge number of best-selling and award-winning authors. His fine line work and comedic character creations lend themselves perfectly to the numerous fiction projects he has now collaborated on, including the Little Bad Man and Who Let the Gods Out series.

For more information regarding working with Aleksei or any of our fabulous artists please email info@arenaillustration.com or give us a call 020 8555 9827 we’d be delighted to help you select the perfect illustrator for your project. Keep up-to-date with Arena Illustration's talented artists by subscribing to our weekly news.

This week we shine a light on his recent collaboration with author Genevieve Carver for the cover of her latest haunting adventure - The Ocean of Bones. Set in the Stone Age, this atmospheric adventure follows Little Meg as she risks everything to honour the Spirits and guide a new friend home across an untamed sea. Chosen as the Sunhealer's Shadow, Meg has devoted herself to learning the ways of the Spirits - so when a ferocious storm devastates her village, she fears it's her fault. As the rain clears, she discovers a girl washed up on the shore, speaking a strange language and scratching pictures in the sand. Little by little, the two become friends.

Richard's cover illustration perfectly captures the essence of this gripping historical tale. Rendered in blues, purples and pinks, with two mysterious figures drawing you in, it pulls you hook, line and sinker into the mystery within.

Here’s what people think! 

‘A rich and heart-warming adventure steeped in Stone Age history.’ Hannah Gold

‘This book transported me headlong into the Stone Age and returned me home with a bigger, warmer, wilder heart.’ Sophie Kirtley.

Richard kindly took a moment to answer a few questions about his creative process.

Claude responded: Here's my edit:

How do you collaborate with the publisher on book cover concepts?

The editor usually has a sense of the cover design and will speak with the author before approaching the illustrator. Their art direction notes are shared through the brief, though these are usually quite open to adaptation. I always try to read the text in its entirety before starting work, as this gives me a good sense of the tone and helps me identify the core visual elements. Getting information on characters, environments and key scenes is essential for accurate visual ideation. Quite often I'm trying to pictorially capture the broader themes of the narrative and the motivations of the characters - finding a balance between communicating those things symbolically without being too descriptive, although children's cover work usually requires a more narrative-driven approach. My designs usually get sent to the author for approval once sketched out, so they can feedback and help shape the process.

Do you get direction from the publisher regarding colour schemes?

The art direction notes can reference other illustrative work - usually from my own portfolio, but sometimes competitor covers or other visual material to help guide the styling, and to make sure the design becomes something distinctive on the shelf. After the rough stage is approved, I like to offer the publisher a few colourways so we can decide on an appropriate scheme before heading to production.

Where do you start your research process when you first receive a project? 

After reading the text, I like to research other contemporary covers for the target audience, and similar thematic works, just so I can better understand how my illustration might function alongside these. I try to get a sense of the authors catalogue of work too, if I’m not already familiar with it. Then I’ll start researching the places, or clothing, or particularly visual elements from the book. I’m not a great graphic designer or typographer by any means, but I do like to try to consider the size and handling of the textual information on the page, as the illustration needs to work intrinsically with those elements. I’ll include these notes in my compositional designs and send them to the designer so they can understand my intentions when the design goes to production.

Can you tell us your top three creative tools? And do you still find time to sketch for pleasure?

Pencil and Paper, Scanner, Cintiq!

At the moment, sketching for pleasure involves my two and half year-old daughter, we like to draw different faces and various animals. It’s really amazing to see her young mind and fine motor skills developing, and we have a lot of fun drawing together. Quite often my own sketching for pleasure is either taking my sketchbook out of the studio to do some observational stuff or quickly doodling compositions and ideas for new works.

Do you have a favourite book cover from your childhood which has been particularly imprinted on your memory?  Have you spotted a book cover recently which really caught your eye and why? 

I tend to have favourite stories from when I was a child, rather than covers, although the covers were the things that gave those works their identity! The silhouette work from Jan Pieńkowski made an impression on me I think, and also Erol Le Cain’s illustrations, probably because of their moodiness.

I’m constantly looking at, and analysing, children’s cover artwork because my daughter has a vast selection of board books and picturebooks. Personally, I’m more inspired by cinematographic and scenographic works, but when it comes to illustration, I spend most of my time these days with graphic novels. I’ve just finished reading The City of Belgium by Brecht Evens, and In by Will McPhail. Their covers are very different but both fantastic.

I’m also very much a fan of the treatment Pete Adlington gave to Kazuo Ishiguro’s Klara and the Sun, published by Faber. That work kicked off an entire redesign for the Ishiguro’s backlist and I really like the balance of minimal illustration and bold type across the set.

If you could create a cover for an adult or children's fiction title which would you choose? 

I always love to illustrate stories that have a darkness or tension to them. So, I enjoy working on anything that involves capturing a sense of a world or place, but that also builds an atmosphere. I suppose there are many stories that would appeal, but it’s the unfamiliar or strange that really excites me.

With huge thanks and congratulations to Richard.

The Ocean and the Bones written by Genevieve Carver is published by Rock the Boat and available to buy in all good bookshops.

With a cluster of best-selling and award-winning projects under his belt, Richard Johnson’s versatility and adaptability have led him to become a much sought-after creative for projects spanning a huge gamut of genres. Working with big brands, major press outlets, laureates and the country’s leading publishing houses, Richard’s delicate and thoughtful artworks bring a touch of magic to each of the projects he works on.

You can find Richard over on Instagram you can also view his online portfolio featuring his latest creative projects on our website. For more information about any of our amazing artists and how we can collaborate with you please email info@arenaillustration.com

In each issue Alex shares things which have sparked delight and happiness, including riveting gossip from his chicken coop, a profusion of puppy-related mayhem, tales of travels across the country, blossoming blooms, interior design insights, recipes, and exquisite sneak peeks into his marvellous sketchbooks. We couldn’t think of a more perfect way to welcome each brand-new week.

The Joy Parade is pure unadulterated escapism, blissfully funny and completely free for everyone to enjoy over on Substack.

Each edition of the newsletter consists of: 

• A page from Alex's sketchbook called “My Week In Little Boxes” 

• A little catch up of funny or interesting titbits Alex has seen or overheard or found himself thinking about in the week

• A section called “BEHOLDING! and EXCLAIMING” where he really looks at something in nature that caught his eye during the week and found to be uplifting.

• The JOY PARADE. 10-15 varied, joyful finds encompassing gardening, nature, pop culture, books, interiors, art and artists, art history, animals, humour, and the art of taking a moment to really notice life in all its hilarious and touching strands. 

• Then we finish with a song. This can be clips from classic film musicals, or more niche performances like Summer Nights from Grease performed in Czech in the 1970s and featuring backing performers you have to see to believe…!

Like and subscribe HERE as soon as you possibly can.

You can find Alex on Instagram, and you can view his fabulous online portfolio over on our website.

For more information regarding collaborating with Alex or any of our amazing artists please email info@arenaillustration.com

Sophie Cameron's YA mystery, published by Little Tiger Books, plunges readers into the sun-drenched yet shadow-filled waters off the Spanish coast, where teenagers are vanishing without a trace and the sea holds secrets of its own. When sixteen year old Elio witnesses the ocean open up and swallow a girl whole, he teams up with Sam, a British tourist desperate to find her missing sister - and the two are pulled beneath the waves into an underwater world populated by selkie-like creatures who are not quite what they seem.

It's the kind of story that demands a cover equal to its atmosphere. Frances cover design spans front to back, it's a cover that makes you feel the pull of something strange and beautiful before you've read a single word. Her illustration captures that moment - the surface of the water, the line between the world we know and something altogether stranger beneath it.

Where the Tide Lines Lead is available to buy now. See more of Frances Castle's work on her online portfolio HERE.  

For more information regarding working with Frances or any of our fabulous artists please email info@arenaillustration.com or give us a call 020 8555 9827 we’d be delighted to help you select the perfect illustrator for your project. Keep up to date with Arena Illustration's talented artists by subscribing to our weekly news.

Following on from Ivy and Bearlock Holmes: The case of the Missing Flower, her brand new second title in the series The Mystery of the Dinosaur Fossil, published by Magic Cat Publishing, is sure to be a big hit with fans of this dynamic duo. Where the first adventure brought readers into the world of botany, pollination and the secret life of bees, this time Kristyna takes Ivy and her grandpa, Bearlock, along with their readers, somewhere altogether more prehistoric. 

When a rare dinosaur fossil disappears from Bearona’s remote Jurassic Ridge, Ivy and Bearlock face their trickiest case yet. The stakes are high and the mystery is packed with the kind of twists and hidden clues that will have young readers scanning every page for details as they unravel a mystery inspired by facts about fossils, evolution and conservation.

What makes the Bearlock Holmes series so special is the way it blends gripping storyelling with genuine non-fiction content. Highly illustrated throughout and beautifully designed in full colour, the book is also packed with 15 brain-boggling puzzles that invite readers to participate directly in the investigation. This cosy crime puzzle mystery series is destined to become a firm favourite with curious young detectives and eager fact hunters alike.

Here are some spreads from the book.

Kristyna recently gave her Instagram followers a rare glimpse behind the scenes of the creative process and her words offer a lovely insight into just how much heart goes into every page:

"Something I don’t often share is all that work that goes into making the finished books... The years of coming up with concept, months of developing characters, worlds and the weeks worth of writing and sketching story thumbs. In fact this part of the process is what I get most enjoyment from. More so than doing the artwork itself. 
I love getting a huge piece of paper out on the floor and surrounded by my sketchbooks, immerse myself into the world to figure out the best way to layout each page. For Ivy and Bearlock, another element I have greatly enjoyed is coming up with the woven in puzzles. That has been super fun and I can’t wait for you to see them all."

And here are just some of Kristyna's beautiful preliminary sketches.

Based in Yorkshire, Kristyna is well known for her exquisite character design which has featured across picture books, luxury product branding and television advertising. Her unique hand drawn typography and sophisticated colour palettes translate seamlessly across a variety of projects and nowhere is that talent more evident than in the richly detailed world of Bearona, which she has been building from the ground up for years.

Congratulations to Kristyna on this amazing sequel, and a huge thank you to the team at Magic Cat Publishing for all their wonderful support for this brilliant series. Grab a copy of Ivy and Bearlock Holmes: the Mystery of the Dinosaur Fossil here. In case you missed book one, you can read our full feature on The Case of the Missing Flower here.

Find Kristyna on Instagram where she shares her latest fabulous creations and the occasional photo of her incredibly beautiful rabbit.

Take a moment to view Kristyna’s portfolio over on our website and take a look at more of her stunning illustrations from Ivy and Bearlock Holmes: the Mystery of the Dinosaur Fossil. Keep up to date with our artists' news by subscribing to our weekly newsletter. 

With echoes of Studio Ghibli Billy's cutting-edge style is immediately visually arresting and would translate perfectly to branding, animation and publishing projects. Based in Scotland, Billy works digitally and finds inspiration in popular culture, animation, toys, video games, puzzles and the stunning highland landscapes which he can often be spotted exploring.

Billy’s first graphic novel Hupo and the Wonder Thief published in 2025 with Flying Eye Books, eagerly enjoyed by newly independent readers there was no doubt that this would be followed by a sequel. Hupo and the Doom Lagoon publishes this month and it delivers even more magical adventure. 

Hupo is off on another adventure as he travels through the land of Yip in an airship, but this time he’s sharing the decks with Zimmy, a peculiar person who looks, sounds, and smells, just like Hupo! They make their way to the Doom Lagoons, a place where you can trap your worst fears below the waters so you never have to be scared again. But things don’t go to plan, and after hundreds of years of fear is released into Yip, it’s up to Hupo and the suspicious Zimmy to save everyone from the horrors of the Doom Lagoon!⁠ Hupo's courage will be put to the ultimate test as he battles his very own worst fears…⁠

Here are two of our favourite spreads from the graphic novel. We think you’ll agree they are simply stunning.

Hupo and the Doom Lagoon publishes with Flying Eye Books and available to buy at all good bookshops. Take a look inside Hupo and the Doom Lagoon HERE. 

You can find Billy and his wonderful beings over on Instagram, his portfolio is also available to view on our website.  

If you would like more information regarding working with Billy or collaborating with any of our artists, please drop us a line info@arenaillustration.com and don't forget to subscribe to our weekly newsletter. 

Billie has spent every summer at her Aunt Edith's seaside home, it's always been her favourite place in the world - but this year something's shifted. Her best friend Andy seems more interested in boys and makeup than in her, and Edith, a Holocaust survivor, is staying the whole summer. Billie doesn't quite know how to talk to her aunt, but slowly Edith starts to open up about her own girlhood, and the two find an unlikely connection across the generations. It's a story about first love, betrayal, and the uncomfortable in-between of growing up, told in verse that makes it feel quietly beautiful.

Depicting a sun kissed beach, lapped by foaming waves is the perfect background to set the scene for this romantic novel. Richard has an innate feel for colour and his use of peaches, jades and brilliant whites come together to present Pearl Beach as the perfect summer read. He also created the wonderfully poignant back cover featuring Aunt Edith, which you can see over on his portfolio here.

Richard is an award-winning creative whose bold characterisation, atmospheric use of lighting and confident handle on colour have led to him working across many platforms, from graphics for the Tokyo Olympics, magazine covers and picture books to a hugely successful series of books for emerging readers published by Barrington Stoke.

You can find Richard Johnson on Instagram where he shares snippets of works in progress, picture book projects, advertorial works and unique stand-alone illustrations.

Be sure to visit our website to view Richards complete online portfolio, it really is a visual feast.

Do email us if you would like to find out more about any of our creatives, we’d be more than happy to present their work to you info@arenaillustration.com 

Chris’ most recent work adorns the cover of Death’s Daughter  written by S.A. Barnes and published by Macmillan in the US and Headline in the UK. His cover illustration sets the tone perfectly for this seductive dark academia fantasy. The novel follows Jocasta, the only child of Death, quietly surviving university life by feeding on the emotional failures of those around her - until a descendant of Lust arrives on campus and upends everything, naming her Death's successor and putting everyone she loves in danger. Hailed as "the urban fantasy resurrected" and drawing comparisons to Buffy the Vampire Slayer, it's the spicy, sinister debut that paranormal fans have been waiting for and Christopher's illustration captures every bit of that dangerous allure.

This striking cover features several of Chris' signature iconography, including a gravestone, and a tangle of roses which perfectly balance this dark and intriguing cover.

With an extensive back catalogue of visually arresting cover design projects, Christopher Gibbs has maintained a reputation for consistently creating artworks which masterfully encapsulate the themes in the books he is asked to illustrate. From YA fiction to high-profile design commissions - Chris brings richly layered storytelling to every project he touches. He has become a much sought-after creative for science-fiction, horror, and thriller titles and has worked on franchises including Sherlock Holmes and Agatha Christie.

Alongside his creative work Chris is also a senior lecturer in Illustration, you can see more of his most recent projects on Instagram where he shares cover reveals and concept work. 

You can view Christopher's haunting and atmospheric portfolio over on our website.

For more information regarding collaborating with Chris please email info@arenaillustration.com or give us a call 020 8555 9827, we would love to help match the perfect artists with your project. Keep up-to-date with Arena Illustration's talented artists by subscribing to our weekly news.